Othello Knowledge Organiser (A Level English Literature B – AQA)

Characters Othello: a general in the Venetian army

Iago: Othello’s ensign and the Emilia: Iago’s wife and Desdemona’s servant. Roderigo: a gentleman of Venice Brabantio: Desdemona’s father and a
and the tragic hero. Despite his
Machiavellian tragic villain. He delights in Whilst she is initially submissive, she becomes who is infatuated with Desdemona. Venetian senator.
elevated status, he is insecure due to
manipulation. more outspoken. Iago uses him as a pawn in his plans, Montano: original governor of Cyprus.
his race and age. He is consumed by
Desdemona: Othello’s wife, Brabantio’s Cassio: despite his inexperience, he becomes and eventually kills him. Lodovico: related to Brabantio and the
jealousy as the play progresses,
daughter, and the tragic victim. She is Othello’s lieutenant just before the play Duke of Venice: allows Othello’s voice of reason in the play.
eventually murdering his wife due to
initially determined and outspoken, but begins. Iago convinces Othello that Cassio and marriage to Desdemona because he Gratiano: related to Brabantio.
believing she has had an affair.
becomes increasingly passive. Desdemona are having an affair. needs Othello to lead the army. Bianca: Cypriot courtesan. Loves Cassio.
Aspects of Tragedy – as set out in Aristotle’s “Poetics”
The tragic hero is noble, but with hamartia (fatal flaw) that leads to peripeteia (reversal of fortune). This flaw may be hubris (excessive The tragic villain exerts The tragic victim suffers and is killed. In
pride) or blindness to the truth, and leads to the hero’s isolation, emptiness, and sense of loss. The hero has a moment of anagnorisis external pressure on the tragic Othello, this suffering is linked to society’s
(realisation) before his downfall. This tragic trajectory evokes pathos (pity and fear) for the hero, which is eventually purged in a moment hero. He is often Machiavellian treatment of women. This evokes pathos
of catharsis (release) at the play’s denouement (resolution). There is often a sense that the hero is fated to meet his inevitable downfall. (cunning, scheming). (pity) and misery in the audience.
Historical Context
Race in Renaissance England: at a time when global exploration and slavery were in their infancy, racism was Gender and the patriarchy: Renaissance women were expected to be subservient to men and did not
rife in England (Elizabeth I ordered that black people should be exiled). There was a belief in the Great Chain of have many rights. Many were consigned to the domestic sphere and were expected to provide a stable
Being, which placed God at the top, followed by angels, white people, black people, and animals. Thus, Iago’s point of morality and innocence in a chaotic, corrupt world. Othello does not challenge this – rather the
animalistic descriptions of Othello reflect contemporary xenophobia. Post-colonial literary theory explores the fact that he “won” Desdemona shows that he confirms this ideology.
impact of colonialism on literature. Post-colonial critics argue that in literature people of different races are A time of change: despite traditional beliefs regarding race and gender, the 17th century was a moment
presented as the “other” – as different, and possibly to be feared. Whilst Shakespeare communicates these time of change from traditional to modern ideas. E.g., Queen Elizabeth had shown that women could
racist ideas in 1.1, in 1.2 he presents Othello as the antithesis of such stereotypes, thus exposing the hold power. Similarly, emerging sciences challenged belief in the supernatural. Shakespeare’s characters
baselessness of racism. However, Othello internalises the racist ideology of those around him, and this leads are caught in the midst of this change, and whilst they often hope for a different, better world, they find
to the insecurity he feels in his marriage. Thus the external pressures on Othello become internal pressures. themselves entrapped by the expectations of traditional society.
Scene Plot Symbols Quotations Vocabulary
o Roderigo and Iago inform Venice: a bastion of cosmopolitan civilisation and I: Cassio is an “arithmetician” and like a “spinster”. Meritocracy: a society based on personal
Act 1: Exposition – establishing Othello’s nobility against a

Brabantio of Desdemona’s commerce, protecting the boundaries of Europe from the I: “I follow him to serve my turn upon him.” achievement, not wealth.
1.1

secret marriage to Othello. Ottoman Empire. Also corrupted by debauchery. I: “I am not what I am.” Duplicitous: deceptive, Machiavellian.
o Enraged, Brabantio sets out in Animal imagery and failure to name Othello: racism and I: “Poison [Brabantio’s] delight…plague him with flies.” Debased value system: lacking integrity.
search of his daughter. continual dehumanisation of Othello. I: “An old black ram is tupping your white ewe.” Prejudiced / xenophobic: racist.
o Iago warns Othello about Disease: uncontrollable spread of evil; one person’s evil O: “Tis better as it is.” Rational: thinking clearly and logically.
background of xenophobia

Brabantio. can infect another; destruction. O: “My services, which I have done the signiory, / Shall out- Noble: possessing outstanding moral virtues; of
1.2

o The Duke calls for Othello. Misogynistic language is used to objectify Desdemona, tongue his complaints.” high rank.
o Brabantio accuses Othello of suggesting that she is “owned” by her father/ husband. She O: “I love the gentle Desdemona” “I won his daughter.” Integrity: soundness of moral character.
abduction. is diminished to a sexual symbol. I: Othello “hath boarded a land carrack.” Misogynistic: hatred of women.
o The court hears of the Turkish Council chamber: Othello is welcomed into a place of O: “most potent, grave, and revered signiors”. Sprezzatura: concealing one’s skills.
threat to Cyprus. power at the heart of Venetian society. His elevated place O: “A round, unvarnished tale will I deliver.” Self-possessed: confident, assertive.
o Othello and Brabantio enter. in the social hierarchy is confirmed – and political
Brabantio accuses Othello. O: “She loved me for the dangers I had passed, / And I loved Precarious foundations of the marriage:
imperatives (war) are judged to be more important in her that she did pity them.” unstable basis for marriage.
Des. is called to assert her love. deciding this than personal conflict (his illicit marriage).
1.3

o The Duke agrees to the D: “I do perceive here a divided duty.” Embittered: filled with resentment.
marriage. He orders Othello to Marriage: in a world of war, Othello’s marriage appears to B: I:
“She has deceived her father, and may thee.”
“The Moor is of a free and open nature.”
Malevolent: evil, immoral.
Complicit: helping to do wrong. By confiding in
lead the fleet to Cyprus. Des. be an oasis of calm. It offers a possible escape from
will accompany him. conflict, and potential reconciliation between different I: “I have it, it is engendered! Hell and night / Must bring this the audience, Iago makes them complicit in his
groups. monstrous birth to the world’s light.” actions.
o Iago plots to destroy Othello.
o Storm destroys the Turkish Storm: increasing chaos; the magnitude of natural forces C: “Our great Captain’s captain.” Jesting bawdily: risqué joking
fleet. that dominate mankind; foreshadows the murder of Des.
Act 2: Rising Action – destabilising the precarious

O: “My soul’s joy”. “My fair warrior.” Courteous: polite

o Des, Iago, Emilia and Cassio Cyprus: this “warlike isle” on the edge of civilisation O: “If it were now to die, /Twere now to be most happy” Laudatory: celebratory
arrive at Cyprus. They jest symbolises chaos and society’s precarious balance. It was
2.1

bawdily while waiting for also Aphrodite’s birthplace (she was accused in infidelity). I: “You are well tuned now: but I’ll set down / The pegs”. Infatuated: overwhelmed by passion
I: “I do suspect the lusty Moor / Hath leaped into my seat, Amorous: loving
balance of love and society

Othello. Emilia is teased and The sea symbolises the vastness of Othello’s love, and
berated by her husband, Iago. suggests that the marriage is natural (in contrast to racist the thought whereof / Doth like a poisonous mineral gnaw Marginalised: silenced, ignored, subservient
o Iago hints that Des loves Cassio beliefs). Yet mankind is at the mercy of the sea’s currents. my inwards”
2.2

o There will be free drinks for all, in celebration of the marriage and the victory. Herald: “Our noble and valiant General.”
O: “my blood begins my safer guides to rule / And passion…
o Iago makes Cassio drunk, and The drunken brawl symbolises the shift from political and Assays to lead the way.” Dissipated / debauched: drunk, hedonistic.
he fights. Othello fires Cassio. social order to chaos, just as the natural world has already O: “never more be officer of mine” Opportunistic: taking opportunities.
o Cassio is distraught. Iago had a moment of chaos in the storm at the start of Act 2. D: “What’s the matter?” O: “All’s well now, sweeting.” Base instinct: acting on immoral desires.
2.3

suggests that Des. could plead This shift from blank verse to prose signals increasing C: “Reputation, reputation, reputation! … I have lost the Stage manager of chaos: Iago seizes control.
with Othello to have him disorder. Previously, we have heard Iago speaking in prose immortal part of myself, and what remains is bestial.” Voice of order: Othello restores control.
reinstated. and so it is associated with his malevolence and destructive I: “Divinity of hell” Diminutive: making someone feel small.
o Iago outlines his plan. impulses. Later, Othello will also begin to speak in this way. I: “I’ll pour this pestilence into his ear.” Dishonoured: made to appear immoral.
I: “the net…that shall enmesh them all”
 Scene Plot Symbols Quotations Vocabulary
3.1: Cassio brings musicians to serenade Desdemona and asks Emilia to let him see Desdemona. 3.2: Othello leaves his quarters to inspect the island’s fortifications.

3
Act 3: Climax – the destructive power of
o Des. pleads for Cassio, and The handkerchief is a traditional love token and symbolises D: “Whatever you be, I am obedient”
Othello listens, but Iago causes Othello and Desdemona’s passion. It was also a family I: “Beware, my lord, of jealousy! / It is the green-eyed Aesthetic delight in destruction: Iago seems to
enjoy causing misery.
Othello to doubt. heirloom, suggesting Desdemona’s acceptance of Othello’s monster, which doth mock / The meat it feeds on.” Credulous: unquestioning
jealous becomes clear

o Des. loses her handkerchief. different background. It becomes a representation of O: “when I love thee not / Chaos is come again.”
3.3

Emilia gives it to Iago. Othello’s jealousy and suspicions of his wife. In some ways, O: “I had rather be a toad / And live upon the vapour of a Myopic: blind to the truth
dungeon / Than keep a corner in the thing I love / For others’ Conciliatory:
attempting to end a disagreement
o Iago fans Othello’s suspicions it could represent Desdemona’s body, which Othello Misconstrued: misinterpreted
further, claiming to have seen believes has been handled by Cassio. uses.” Disorder: disintegration into chaos
Cassio with the handkerchief. O: “I’ll tear her all to pieces!”
o Othello is enraged when he Monstrous imagery: the concept of being monstrous refers D: “My noble Moor / Is of true mind, and made of no
asks Des. for the handkerchief, to unnatural, deviant or immoral behaviour in the play. baseness / As jealous creatures are.” Cynical: distrusting, disparaging of others
Iago refers to his plot as a “monstrous birth” and Othello Ensnared: entrapped, caught
but she talks about Cassio. O: D’s hand is “A young and sweating devil, here / That
3.4

o Emilia suggests that Othello is calls Desdemona’s alleged infidelity “monstrous”. This commonly rebels” Accusatory: applying blame
jealous; Des. rejects this idea. demonic imagery alludes to complete, unstoppable and E: “They are all but stomachs, and we are all but food.” Accident of birth: one’s circumstances are
determined by the class one is born into
o Cassio finds the handkerchief. almost unspeakable destruction. E: Jealousy “is a monster begot upon itself.”
O: “The raven over the infectious house.”
Epileptic fit: this “savage madness” emphasises the tragic O: “Lie with her? Lie on her? […] Zounds […] Noses, ears and Moral commentary: Lodovico explains the
o Iago continues to provoke hero’s lack of power and agency, and his vulnerability to
Act 4: Falling Action – Othello’s increasing

lips. […] Confess! Handkerchief!” rights and wrongs of the situation

debasement plunges society into chaos

Othello’s jealousy. Iago. Othello appears unfit to lead.

4.1

o Lodovico is horrified when he Striking Desdemona shows the progression from O: “Let her rot and perish and be damned tonight, for she Descent into irrationality: disintegration of
seeks Othello strike Des. passionate infatuation, to verbal violence, to physical shall not live. No, my heart is turned to stone.” Othello’s psychological state
Lodovico: “Is this the noble Moor whom our full senate / Call Brutality: violence, callousness
violence. It is a key turning point in their relationship. all in all sufficient?”
o Othello questions Emilia, but Water symbolises purity and innocence, but is also
refuses to believe her. He connected to trade and therefore is a symbol of affluence E: “I durst, my lord, to wager she is honest, / ….” Isolated: alone
confronts Des. and cosmopolitan culture. The free-flowing water at the D: “My lord, what is your will?” Callous: unfeeling
O: “the cunning whore of Venice.”
4.2

o Des. turns to Iago for start of the play has now become a foul trickle, showing Inhumane: lacking in compassion
reassurance, and Roderigo how Othello and Desdemona’s love has been corrupted. O: “The fountain from the which my current runs / Or else Contemptuous: disgusted, scathing, dismissive
reproaches Iago for unfair Othello’s attitude to love had been debased and he is dries up … / Or keep it as a cistern for foul toads / To knot Relentless: unstoppable
dealing; Iago reassures both. obsessed with obscene physicality. and gender in.”
o Des. prepares for bed, singing The wedding sheets symbolise the failure of the marriage, E: ““The world’s a huge thing: it is a is a great price for a small Melancholic: unhappy, depressed
4.3

an old song from her youth. and have become a shroud, foreshadowing Des’s death. vice.” Disillusioned: losing faith in something
The willow song heightens pathos for Des. Pragmatic: practical
o Roderigo and Iago wait for Darkness: the play’s circular structure indicates Iago’s role
Act 5: Denouement – Othello’s downfall, and

I: Cassio “hath a daily beauty in his life / That makes me Mastery: total control
5.1

Cassio; Roderigo injures Cassio. as stage-manager, and the inescapability of immorality and ugly.” Triumphant: victorious
Roderigo is killed by Iago. chaos. The characters are unable to see (the truth?).
an attempt to restore order

o Othello is strongly affected by O: “I’ll not shed her blood / Nor scar that whiter skin of hers
White objects symbolise unchanging innocence – indicating
than snow / And smooth as monumental alabaster.”
the sight of a sleeping O: “I know not where is that Promethean heat / That can thy Passive:
that Othello desires a wife who can be controlled and will unresponsive
Desdemona, but kills her. not alter with time or mood. The references to white also
light relume.” Seeking retribution: looking for revenge
o Emilia discovers the murder indicate how Othello has internalised racist ideas and is Automaton: robotic, following instructions
and proclaims Desdemona’s D: “Some bloody passion / Shakes your very frame.” Self-aggrandising: increasing one’s power
preoccupied with Desdemona’s whiteness; he believes that
E: “May his pernicious soul rot half a grain a day.”
5.2

innocence. She reveals what she will not love him because of the ethnic differences. Tormented by remorse: guilty
Iago has done. E: “I’ll speak.” Heinous: horrific, reprehensible, unforgivable
I: “From this time forth I never will speak a word.”
o Iago kills Emilia, and Othello is Irrefutable, righteous anger: justified anger
Light: hope, innocence, purity, heavenliness, life.
arrested by Lodovico. O: “I have done the state some service, and they know it.” that cannot be denied
o Othello stabs himself. Iago is O: “Of one that loved not wisely, but too well. / Of one not Evasive: avoiding responding to questions
arrested. easily jealous, but, being wrought, / Perplexed in the
extreme.”
Big ideas
o Ultimately, the tragedy is that Othello and Desdemona’s optimistic desire for a world in which all races and o Emilia’s development as a character is the mirror image of Desdemona’s trajectory; as Desdemona
genders can achieve autonomy is destroyed by forces that wish to maintain the status quo. This is a play becomes increasingly passive, Emilia finds her voice. Yet both women face the same fate: death at the
about racism and misogyny; but it is also about the failure of the individual to combat oppression. hands of their husbands. Within the patriarchal world of the play, women who attempt to assert their
o Othello’s assertion of nobility and integrity during the exposition is admirable; through his eloquent views find themselves literally silenced.
speeches, Shakespeare challenges contemporary racist stereotypes. However, Shakespeare also uses o The parallels between Bianca and Desdemona suggest that an individual’s fate is purely an accident of
Othello to demonstrate the power of such ideologies; Othello’s racial identity makes him vulnerable to birth. Shakespeare also uses Bianca’s character to suggest that survival is dependent on treading a fine line
Iago’s schemes, and as he internalises preconceptions of his identity he is shaped into the very stereotype between maintaining one’s integrity and being worldly-wise.
he refuted in Act 1. o Cassio’s character demonstrates that it is possible to maintain one’s integrity and morality, even in the
o Iago is the quintessence of prejudice and discontent; not only does he rail against anyone who is an face of being reduced to a debased pawn. He becomes a voice of reason and order at the play’s
outsider, but he also attempts to manipulate them to their downfall. His character is used to demonstrate denouement.
mankind’s capacity for evil, something made all the more unsettling when it is set in the context of Iago’s o Lodovico is a voice of reason, and also provides a moral commentary, highlighting the dramatic shifts in
apparent amorality. Othello’s character.
o Initially Desdemona provides a glimmer of hope for women; her outspoken nature and her determination o Brabantio symbolises the traditional values of Venice, and is therefore an embodiment of reprehensible
to make her own choices shows that women can have agency. However, ultimately the play suggests that racism and prejudice, as well as of the patriarchy. Roderigo symbolises the myopic materialism and lust of
female empowerment is not possible within Renaissance society. Venice.