2020 English Notes

Year 11

Othello
Alex Drew Taylor

Contents
Summary .................................................................................................................. 1

Techniques ............................................................................................................... 2

Dominant Reading .................................................................................................... 4

Alternate Readings ................................................................................................... 5

Feminist reading .................................................................................................... 5

Psychoanalytical reading ....................................................................................... 6

Sample Introductions ................................................................................................ 8

 Summary
In the opening scene, Iago complains to Roderigo that Othello, his Commander, has
passed him over to promote the handsome young Cassio to be his Lieutenant. He vows
to get revenge. Iago first asks Roderigo to tell Desdemona’s father, Brabantio, that his
daughter has left to marry Othello, a marriage Brabantio opposes because Othello is a
Moor. Brabantio confronts Othello, and they take their argument to the Duke, who has
summoned Othello to ask him to sail to Cyprus to stop a Turkish invasion. Convinced by
Othello and Desdemona that they love each other deeply despite their differences, the
Duke gives Desdemona permission to travel with Othello. By the time they reach Cyprus
the foreign threat has gone.

Iago manipulates Cassio to make him drunk and gets Roderigo to draw him into a street
fight. Iago has his revenge on Cassio when Othello strips Cassio of his rank for
misbehaviour. Then Iago decides to make Othello believe his wife is unfaithful. He
encourages Cassio to ask Desdemona to plead with Othello to be reinstated. Iago
suggests to Othello that Desdemona is Cassio’s lover. Trusting Iago, and mad with
jealousy, Othello promotes Iago and asks Iago to help him kill Cassio and Desdemona.

Iago plants Desdemona’s handkerchief in Cassio’s room. Cassio gives it to his mistress,
Bianca. Othello believes Bianca’s possession of the handkerchief is proof that
Desdemona and Cassio are lovers. He verbally abuses his wife in front of others, who
are shocked at the change in the noble and powerful man.

Iago has manipulated Roderigo into trying to kill Cassio. The attempt goes wrong, and
Cassio wounds Roderigo; Iago stabs Cassio in the leg. Othello hears Cassio cry out and
thinks Iago has killed him. He returns home, ready to kill Desdemona. Meanwhile, Iago
“finds” the wounded Cassio and accuses Bianca of causing Cassio’s injury. Iago quietly
kills Roderigo and sends Emilia (Iago’s wife) to Desdemona with news of what has
happened.

Othello reaches the sleeping Desdemona first. He kisses her, wakes her, and accuses
her again. Over her protests that she loves him and is innocent, he smothers her. Emilia
enters and Desdemona revives for a moment, declaring herself guiltless but saying, as
she dies, that Othello is innocent of her death. Iago and others enter, and Emilia defends
Desdemona’s innocence, recognizing that Iago is behind the tragedy. Othello sees the
truth and tries to kill Iago. Iago kills Emilia and flees; Othello condemns himself and
commits suicide. Iago is seized and taken away.

AD. TAYLOR 2020 Preliminary English Adv. Othello Notes Page 1

 Techniques
Form
- Setting
- Acts and scenes
- Aside
- Soliloquies
- Monologues
- Meta-theatre
- Foil

Language Devices
- Blank verse
- Prose
- Iambic Pentameter
- Symbolism - weather, animals, etc
- Motifs - recurring items or phrases that help to drive the narrative
- Allusions - often to mythology - references situations or attributes
- Visual imagery - metaphors, similes, personification, allusions
- Auditory imagery - alliteration, assonance, consonance, sibilance
- Other forms of imagery - olfactory, tactile, kinaesthetic, etc
- Speech or persuasive language - Anaphora, asyndeton, polysyndeton, parallelism
- Paradox
- Oxymoron
- Antithesis (creates a tension between words and thoughts – a push and pull – a flower
on the surface a serpent underneath)
- Stichomythia (using the word of the other to create a battle – often completing the
iambic pentameter rhythm – revealing the deep nature of their connection – produces
a natural increase in pace and tension)
- Pun or double entendre – humour or to reveal a double meaning – sarcasm or
hidden agenda
- Modality (low and high)
- Punctuation
- Dramatic Irony – creates tension/anticipation
- Situational or verbal irony (the opposite of what we expect to happen or be said)
- Zoomorphism

Suggested references/themes
- Speech
From Iambic pentameter to the harsher prose, showing the degradation of his mental
state and the clouding of his judgement.
Iambic pentameter creates a measured and dignified tone to Othello’s speech, and draws
attention to specific words in speech to create contemplation and reflection.
Iambic pentameter mimics the rhythm of the human heart, and therefore is of an innate
beat and pace, which causes Othello to sound natural and pure.
- Machiavellian

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cunning, scheming, and unscrupulous, especially in politics.
Make reference to Iago’s actions and his asides to show his Machiavellian manipulation
of Othello.
- Chain of being
The societal hierarchal structure ordered from god to peasants, and states that kings
have greater perfection than workers. Divine order meant that if there was a disturbance
in the natural order, or chain of being, chaos would reign on the world, until order was
restored. This is often portrayed by a change in weather, and the downfall of the
protagonist. Only once Othello kills himself, and Iago punished can the world be restored.
- Nature
Iago uses many flora references: “Our bodies are our gardens, to the which our wills are
gardeners; so that of we will plant nettles or sow lettuce, set hyssop and weed up thyme,
supply it with one gender of herbs or distract it with many, either to have it sterile with
idleness or manured with industry, why, the power and corrigible authority of this lies in
our wills.” This passage is a metaphor for the characters in the play. Characters seem to
be the product of natural and inevitable forces, which have the potential of growing out of
control if not maintained. Iago understand this and by this metaphor is both a “good”
gardener to himself and others. Fauna references are numerous in Othello as well as
flora. Iago again is in involved in many fauna references, especially when talking of
Othello. Iago calls Othello “an old black ram” (I.i.88) and “a Barbary horse” (I.i.113).
These animal references made about Othello (before he is even seen) tell the audience
that he is meant to be thought of as a savage (as animals are).
- The tragic hero
• A character more noble than us
• Suffers a reversal of fortune
• Endures uncommon suffering
• Recognises the consequences of his actions
• Punishes himself
• Moves the audience to pity and fear (Terrible beauty) – catharsis

- Portrayal of Othello
• Through his history – his stories, his battles – experience and courage and honour
• Through his Language – the way his speaks – controlled, measured, considered,
thoughtful, respectful
• Through his discourse – what he says – that speaks to his intrinsic values of
honesty, loyalty, integrity
• They way others speak of him – with respect and admiration
• The way others speak to him and act toward him – with respect – looked to as a
leader
• His actions (especially when under pressure) – when challenged about
Desdemona – he remains controlled and confirmed in his belief that he has done
nothing wrong; he allows Desdemona a voice, he listens to and respects her
desires.

AD. TAYLOR 2020 Preliminary English Adv. Othello Notes Page 3

 Dominant Reading
Purpose: The purpose of the dominant reading is to depict Othello as a tragic hero, we
can see that he fits Aristotle’s traditional criteria of a tragic hero, as he is a character
more noble than us, suffers a reversal of fortune endures uncommon suffering,
recognizes the consequences of his actions, punishes himself, moves the audience to
pity and fear catharsis. Tragic plays seek to interact with the empathy of the audience,
and allow the audience to grow from the misfortunes of the characters, as they
vicariously live through the ordeal and learn from the moral of the play.

Sample Response: The dominant reading of William Shakespeare’s tragedy Othello

places the main character Othello as a man more noble than us through his language,
actions and the way others treat him. Shakespeare initially employs blank verse for
Othello’s character, his dialogue is formal, controlled, and confident, full of rich
vocabulary and imagery. When called to question over his relationship with Desdemona
he responds “I do beseech you … let her speak of me before her father” taking all
responsibility for his actions of marrying Desdemona and with Integrity commits himself to
the local law “let your sentence/ even fall upon my life.” He is revered by others who
Refer to him as “lord” and “commander” and is seen to be a brave warrior, a “soldier’s
solider”, and yet he considers Himself to be “rude” in his “speech”, disclosing his nobility
and humility. This is contrasted by Iago’s prose, who acts a Foil for Othello – highlighting
Othello’s virtues when measured against Iago’s vices. Iago takes Othello’s “free and
Open nature/ that thinks men honest…/ as tenderly be led by the nose/ as assess are” in
his stride and through his use of the less regal prose shows his coarse, blunt lower grade
societal placing and that he “hate the moor,…/ to abuse Othello’s ear…/ framed to make
women false”. Shakespeare’s clever use of aside reveals Iago’s Machiavellian plan to
Manipulate and destroy Othello, creating tension through dramatic irony, establishing
Iago as Othello’s silent

Nemesis, most effectively eliciting our concern for Othello. The integrity of his actions
coupled with the admiration of Those around him, establish Othello as a noble figure, in
his both status and disposition. Just as those around him seem to adore him, we – the
audience, are also drawn to his strength of character. It is from this position that Iago will
Manipulate Othello’s fall from grace. Therefore, Othello meets the tragic hero criteria as a
person of high stature Who is more noble than us.

Quotes: https://quizlet.com/_8ndzfg?x=1qqt&i=23k6yr

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 Alternate Readings
Feminist reading
Purpose: The feminist perspective highlights the wrong automatic tendencies of society
to illustrate females as inferior and therefore requiring ownership, and tight rule. Instead
the feminist perspective shows that females are just as capable at holding traditionally
male attributes. Shakespeare uses the antithesis of the relationship of Emilia and Iago to
show the great divide between the sexes. Iago is seen as a character incapable of
controlling his emotions, is easily aggravated and fails to use logical and moral
understanding to come to sound conclusion and to deal with problems that arise. This is
juxtaposed against the angelic character of Emilia who in the pursuit of the truth lays
down her life for the justice of Desdemona. Through this depiction, we see men as
animalistic and barbaric, and women as pure and stable. The feminist reading seeks to
depict the genders as coequal and therefore deserving of equal rights.

Sample Response: Shakespeare challenges the automatic behaviours and tendencies

of society based on gender. Where the era called for women who were subservient,
feminine and reticent. Shakespeare highlights the weaknesses of men, in their vile and
cruel nature, and women as the heroic, righteous, and angelic figures full of purity and
morally sound. As seen by Amelia transcending expectations by laying her life down far
the truth to come out, despite direct orders from lago, who kills her for her disobedience.
In this way, Shakespeare is able to question the traditional and automatic character traits
of females by placing what was believed to be masculine traits of honour, chivalry,
courage, assertiveness and righteousness, onto the female characters. Women can also
be seen as possessions, as seen by lago's use of "use her well" when talking to Othello
about Desdemona, highlighting the period's tendency to conventionalize the
objectification of women. The feelings of the play's female characters are often
disregarded, and come second to the lofty desires of men. Emelia 's depiction of the
appetite of mankind, that 'They [men] eat us hungerly, and when they are full, they belch
us". Emelia highlights that men are brutish and simplistic in nature, unable to control
animalistic urges and desires with logical thought. It is almost ironic to see male
characters struggling to control their emotions, and females depicted as responsible and
noble, this juxtaposition highlights the irrational and after absurd behaviour of mankind
and the need for women's rights on the grounds of the equality of the sexes. This is
further highlighted by male weakness, where Shakespeare masterfully uses Othello and
Iago as pawns to depict the frailty of the male mind, and its susceptibility to become
jealous and enraged, incapable of using logic and sound-reasoning once aggravated. It
can be seen that Iago only needs the perception of Othello having slept with his wife, and
without solid evidence or asking Othello about the rumoured incident, Iago sets out a
Machiavellian plan to destroy Othello’s life, without reasonable cause.

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Quotes: https://quizlet.com/_8ndd27?x=1jqt&i=23k6yr
Psychoanalytical reading
Purpose: The Psychoanalytical perspective emphasises that there are multiple possible
causes for Othello and Iago’s evil tendencies. Showing that people are not naturally
ingrained as evil or good, they are a product of their own surroundings. This means that
Iago is only evil because he struggles with an inferiority complex and the beliefs of the
period over sexism and racism exacerbate his tendencies and pitfalls. The
psychoanalytical perspective also highlights that Othello must not be naturally jealous but
rather a product of his pain, and was therefore corrupted by the racist world around him.

Sample response: The psychoanalytic approach focuses on the importance of the

unconscious mind (not the conscious mind). In other words, the psychoanalytic
perspective dictates that behaviour is determined by your past experiences that are left in
the unconscious mind and means people are unaware of them. A psychoanalytic reading
would focus on characters thoughts and behaviours and how they influence the
characters actions and how characters are propelled into acting in a certain way that
would usually contradict how the character is portrayed to the audience. In
Shakespeare’s Othello, we see how due to Iago’s manipulation, Othello’s jealousy leads
to him murdering his wife, Desdemona. The character of Othello at the end of the play is
very different from the one established at the start; having been corrupted due to his pure
and trusting nature being highly susceptible to false persuasion. Iago is powerless to
enable his own promotion through traditional means due to arrogance and laziness;
mistrusting his ability to command the affections of his wife, Iago spends the entire drama
seeking to compensate for this vulnerability by exerting influence. Shakespeare presents
Iago as someone who shies away from exposure and tries to gain influence by
manipulating others to do work for him. Iago is subconsciously aware of his inferiority and
so through cunning manipulation seeks to rise through the ranks without having to be an
outstanding soldier. In this sense, Iago can be considered complex, having a host of
reasons for which to be resentful and bitter. However, it can be seen that Iago is clear
sighted enough to see redeeming qualities in his enemies although he lacks the ability to
see them in himself. This can is seen through “[Cassio] hath a daily beauty in his life that
makes me ugly.” which highlights Iago’s understanding of Cassio’s superiority, and also
suggests jealousy. Iago has an inability to gain happiness and reward through his own
natural means, so seeks to abnegate or undermine others’ successes, with an almost
childlike immaturity emphasized by a “if I can’t have it, no none will” mentality. Iago
exhibits a sense of inferiority, yet is incapable of seeing the redeeming qualities that he
lacks, but which elevate others.

Othello does not kill Desdemona in jealousy, but rather conviction forced upon him by an
almost superhuman or biblically demonic subconscious manipulation from Iago.
Shakespeare depicts Iago as a sociopathic character incapable of seeing his own flaws,

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hell bent on creating chaos. He grasps at inconsequential rumours to justify his
wrongdoings, and then hides behind the vail of purity and honesty. His evil cannot be
rationalized, and is often noted as motiveless malignity. In this way, Iago is a narcissist,
someone who displays a deep ingrained pattern of self-centred, arrogant thinking and
behaviour, with a complete lack of empathy and consideration for other people, and an
excessive need for admiration. Iago’s thirst for power and control is depicted throughout
the play, saying, “I am worth no worse a place”. Iago is a product of his society and
environment; his deep-seeded feelings of inadequacy and rage are revealed through his
racist and sexist views, where his ego constructs the avenue through which his motives
grow and fester. Iago’s motives are born from trauma and the internalization of anxiety
which created his narcissistic defence mechanisms of bringing down people he feels are
inherently wrong or evil. He seeks to watch Othello fall from grace, through manipulating
Othello’s world, blinding him with rage and jealousy. However, he is unaware of his own
misplaced jealousy, where he feels as though Othello is inferior due to his race and
therefore doesn’t deserve his rank or stature within society. Iago goes to great lengths to
ensure he gains power, and justifies his actions through inconsequential evidence, and
rumour over the alleged adultery between Othello and his wife (Emilia), “He has done my
office: I know not if't be true; but I, for mere suspicion in that kind, will do as if for surety.”
Iago’s continued use of zoomorphism throughout the play to diminish Othello’s character,
as seen by “…an old black ram, is topping your white ewe.” is further evidence of his
hatred and distain for people of higher stature, who through his sociopathic nature is
incapable of seeing their redeeming features, which he lacks.

Quotes: https://quizlet.com/_8ndm17?x=1jqt&i=23k6yr

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 Sample Introductions
Sample 1: William Shakespeare masterfully crafted “Othello, the Moor of Venice” (c.
1604) as an Aristotelian tragedy play. The main protagonist of the play, Othello, is the
perfect example of a tragic hero. Shakespeare was influenced by Aristotle’s concept of a
tragic hero and used Aristotle’s principles to create “Othello”. William Shakespeare
attempted to create an Aristotelian tragedy play with a tragic hero and succeeded in
Othello, the moor of Venice by weaving in pity and fear into each line and action. The
power of pity and fear creates the upmost tragic situation and follows in accordance of
Aristotle’s definition of tragedy. Othello makes the ultimate act as a tragic hero by killing
himself at the end of the play. “Othello”, more than any play in the history of western
civilisation literature, embodies the elements of a true Shakespearean tragedy. However,
to read Othello only from the perspective of the dominant reading, as a tragedy, means
that we are exploring the text from narrow perspective. By examining alternate and
resistant readings of a text, our understanding of text and the many ways it can be valued
broaden exponentially. Comparing the dominant reading of Othello to a feminist reading
will demonstrate very effectively that a text can and should be read and interpreted many
different ways if we are to gain a deep understanding of the concepts presented.

Sample 2: texts can and should be explored though alternate lenses to broaden our
understanding of the ideas and perspectives represented by the author. William
Shakespeare’s famous tragedy, “Othello, the Moor of Venice” (c. 1604) is arguably one of
the finest tragedies in literary history of western civilisation. This dominant reading of the
character, Othello, reveals him to have all the qualities of the true Aristotelian “tragic
hero”, he is noble in character, he has a tragic flaw which leads him to downfall where he
suffers a reversal of fortune, falling from high to low status. He recognises the
consequences of his actions and in true tragedian style – punishes himself to restore
balance, moving the audience to a point of catharsis. Using this criterion, we can easily
classify Othello, the moor, as a true tragic hero. However, when we examine a text
though a psychoanalytic lens, we begin to look more closely at the inner workings of the
mind, the subconscious motivations of the characters and their struggle to maintain
balance between their id, ego and superego.

Sample 3: William Shakespeare’s famous tragedy, “Othello, the Moor of Venice” (c.1604)
is arguably one of the finest tragedies in literary history of Western Civilisation. The
character, Othello, embodies all the qualities of the true Aristotelian “tragic hero”, he is
noble in character, he has a tragic flaw which leads him to downfall where he suffers a
reversal of fortune, falling from high to low status. He recognises the consequences of his
actions and in true tragedian style – punishes himself to restore balance. Using this
criterion, we can easily classify Othello, the Moor, as a true tragic hero.

AD. TAYLOR 2020 Preliminary English Adv. Othello Notes Page 8