theme of jealousy in othello essay

William Shakespeare

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Iago refers to jealousy as the "green-eyed monster." As this metaphor suggests, jealousy is closely associated with the theme of appearance and reality. For instance, at one point Othello demands that Iago provide "ocular proof" of Desdemona's infidelity—he demands to see reality. But Iago instead provides the circumstantial evidence of the handkerchief, which Othello, consumed by his jealousy, accepts as a substitute for "ocular proof." Othello's jealousy impedes his ability to distinguish between reality and appearance. While the prejudiced characters in the play denigrate Othello as an animal or a beast based on his race, Othello's obvious honor and intelligence makes these attacks obviously ridiculous. Yet when Othello is overcome by jealousy, he does become beast-like, falling into epileptic fits that rob him of the ability to speak intelligibly.

Othello is also not the only character in Othello to feel jealousy. Both Iago and Roderigo act to destroy Othello out of jealousy, with disastrous consequences.

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Essay: The theme of jealousy in the play Othello

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Othello, written by William Shakespeare is the story of sexualized jealousy. Jealousy and envy take a toll on the story from beginning to end. Jealousy is the “green-eyed monster” that is inherently unreasonable. Othello, as well as, the other characters feature jealousy as the dominant motive for their actions. Shakespeare portrays sexual and romantic jealousy, as well as professional jealousy as the evident cause of self-destruction. Othello’s insecurities drive him to be jealous of Cassio. Iago’s jealousy of Othello urges him to shatter Othello’s relationship with Desdemona. Throughout Othello, Shakespeare idolizes that love becomes hate, and hate becomes love. For the characters, the distinction of these feelings is being blurred. Jealousy amongst the characters is the causation for their consequential actions. “In the early modern period, to be envious of something was to want something you did not have, and to be jealous was to fear losing something that you did’ (Olson 8). William Shakespeare proves through his literary work Othello, that if jealousy becomes part of ones’ personality, it can control us and once it does, one loses the ability to ration.

Roderigo is a minor character, who carries out the thematic desire of jealousy. However, Roderigo’s jealousy does not change the way he acts and behaves. His purpose in Othello is carried out through the manipulations of Iago. Iago realizes that Roderigo is in love with Desdemona, so he convinces Roderigo that he can make Desdemona fall in love with him. Roderigo is jealous of Othello for having Desdemona, the girl he thinks he cannot have. Roderigo sees Othello as an opponent, which he has to compete with in order to win Desdemona’s heart. “What a full fortune does the thick-lips owe, / If he can carry it thus,” Roderigo says expressing his emotions of Othello having Desdemona out of luck (Othello 1.1.67-68). It is because of this Roderigo continues to seek Iago’s advice. Iago uses Roderigo’s jealousy to his advantage. Iago persuades Roderigo to confront Desdemona’s father, Brabantio. He tells Roderigo “Call up her father, Rouse him…poison his delights…do, with like timorous accent and dire yell,” (1.1.64-65). Iago is not concerned with how Roderigo truly feels. “His intentions are not to help Roderigo seek Desdemona but to have Brabantio after Othello because it will cause him, Othello, distress” (Putnam 43). Roderigo’s love for Desdemona has clouded his judgment which leads him susceptible to Iago’s manipulation. Roderigo falling into Iago’s plan, is betrayed and killed by Iago, leading to his downfall.

“Iago is a man blinded by envy and anger, with a goal in mind for everyone to become equally jealous, which aim he completes through his betrayal and manipulation of characters” (43). Iago can identify the weaknesses of the other characters and uses their weakness to harvest jealousy within them. Iago provides a distinction of envy and jealousy. He is envious, rather than jealous, of Cassio, who earned the position of lieutenant rather than himself. Iago believes he should have earned the position rather than Cassio because he is more experienced. Iago plans to disrupt and destroy the life of Cassio. While in Cyprus, Iago urges Cassio to drink a lot of alcohol to disprove his position in front of Othello. Iago conceives a plan for Roderigo to attack Cassio. Roderigo falling into Iago’s plan, attacks Cassio, leading to the demotion of Cassio. Iago reveals his evil capabilities after he successfully gets Cassio fired. Iago is however, sexually jealous of his wife Emilia. Emilia is rumored to have been sleeping with Othello. Iago is an inherently jealous character, yet he does not seem convinced: “I know not if’t be true, / But I, for mere suspicion of that kind, / Will do as if for surety” (Othello 1.3.369-72). His jealousy develops which grows into greater hatred for Othello. Iago’s rejection for the position of lieutenant is not the reason for his manipulation. However, it is that Iago wants everyone to feel the jealousy and anger that consumes him. In Iago’s soliloquies, Shakespeare conveys Iago is not driven by reason but by passion. According to Marcia Macaulay, Iago “is consumed by a desire to best those whom he feels rightly or wrongly have wronged him” (4). Iago’s jealous rampage has affected his relationships with Othello, Roderigo, and Cassio. Iago is not affected by jealousy personally, however, his jealousy has affected the other characters. It has destroyed lives and relationships. Iago’s jealousy of Othello and Cassio have made him responsible for the deaths of Emilia, Desdemona, Othello, and Roderigo. William Shakespeare portrays Iago as one of the evilest villains.

Othello is not an inherently jealous character; however, Iago drags out the jealousy within him. Othello is a confident and dignified character; however, the audience sees a transformation in his personality as he begins to use bestial language and make accusations. “Iago so desperately wants Othello to become insane with jealousy, and he initiates this envy and rage by creating lies of Desdemona’s unfaithfulness” (Putnam 45). He conceives a plan and delivers a story of betrayal to Othello in which destroys the matrimony between Othello and Desdemona. Iago does so by deceit and trickery fueling a jealous rage within Othello. Iago learns that Cassio has been appointed lieutenant instead of himself and seeks revenge on Othello. Iago convinces Othello that Desdemona is having an affair with Cassio. Iago chooses Cassio to be the victim because he is consumed with so much jealousy of not being appointed lieutenant. “When initially confronted with Iago’s suspicions, [Othello] boldly rejects the imputation that he possesses a jealous disposition” (Olson 12). However, when Desdemona becomes relentless at dinner about reinstating Cassio Othello’s jealousy grows. “Give me a living reason she’s disloyal,” Othello demands, threatening Iago that he must prove of Desdemona’s affair (Othello 3.3.61). As Othello’s jealousy rages, Iago offers many ‘proofs’ in which is the beginning of his plan to enrage Othello. Desdemona drops a handkerchief which Othello gave her, and Iago uses it for his own deceit. Iago plants the handkerchief in Cassio’s room and proclaims to Othello he has seen Cassio with such a handkerchief. “Othello turns the appraising gaze at himself and begins to doubt Desdemona’s attraction to him” (Olson 14). Othello’s jealousy develops as the audience learns his mind is being controlled by Iago. Iago’s words of Cassio talking in his sleep confessing his love for Desdemona burned into Othello’s brain. Othello’s perception of Cassio has completely changed because of Iago. Othello has ordered Iago to murder Cassio. Pretending to have doubts of Othello’s wish, Iago has asked him to reconsider. In response Othello says:

Never, Iago… Even so 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 (Othello 3.3.454, 458-461).

Othello has turned his love and respect for Cassio into hatred. Othello has become jealous and begins to suspect Desdemona’s intentions. Iago has power over Othello because of trust, loyalty, and evidence of infidelity. Othello does not need to be jealous but is because he allows Iago to manipulate him. Othello only takes into consideration what Iago has said and presented to him. He had the choice to ask Desdemona of the affair but chooses to trust Iago. Othello’s jealousy has worked him into trance leading him to smothering Desdemona to death. His feelings of love for Desdemona has turned into murderous hatred. As Othello is being consumed by jealousy, he speaks such words, “Yet she must die, else she’ll betray more men” (5.2.7-8). Othello believes he cannot have Desdemona anymore and commits an act of murder so no one can have her. Only after murdering Desdemona, Othello discovers the truth of Iago’s intentions allowing Othello to return to the man he once was. Othello, a tragic hero, takes his own life and asks to be remembered as “not easily jealous.” William Shakespeare has conveyed that personal weakness and insecurities can drive oneself to be incapable of rational thoughts. Shakespeare has portrayed through Othello that jealousy is a personal flaw.

William Shakespeare has explored the theme of jealousy in the play Othello. With Iago, Othello, and Roderigo, Shakespeare conveys the effects of jealousy. Shakespeare portrays how human emotions can be manipulated leading to self-destruction. Jealousy is what drives the character’s lives from beginning to end of Othello. Othello and Roderigo’s jealousy are not self-inherited, rather fashioned by Iago. Othello, written by William Shakespeare conveys a story of sexualized and professional jealousy. Self-inflicted insecurities and self-inherited jealousy are the prominent causes of self-destruction throughout the play. With the characters Othello, Iago, and Roderigo, Shakespeare idolizes love becoming hate, and hate becoming love. To be envious was to want something one did not believe they could have, and to be jealous was to lose something you had. William Shakespeare conveys in Othello, jealousy can consume a person through manipulation, and once it does, a person loses ability to think clearly and reason.

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Theme of Jealousy in Othello by Shakespeare Research Paper

Writing a paper on Othello’s jealousy? Essays like the one below will point you in the right direction!

Introduction

Jealousy in othello, works cited.

The play Othello is among the most famous tragic plays written by Shakespeare. The story concentrates on four main characters namely Othello, Desdemona, Cassio and Lago. Due to its varied nature and the fact that it addresses important themes such as betrayal, love, death and jealousy, it is still performed in many theatres today.

It stands out as a unique play with a personal setting describing the aspirations and private lives of the main characters. The jealousy displayed by Othello and the villainous nature of Lago are some of the qualities that impress the readers of the play.

In addition, the relationship among the characters makes the play unique (Sparknotes 1).Othello and Lago show close associations which make it difficult to figure out who has the greatest responsibility in the play. Most importantly, the role played by Lago who is the villain distinguishes the play from others. Shakespeare addresses different themes in the play and this essay will discuss jealousy as one of the themes addressed in Othello by Shakespeare.

Shakespeare was one of the most prominent writers who ever lived. He was known for addressing various themes such as betrayal, death and love in his works as evidenced in his play Othello. However, theme of jealousy stands out from the start till the end of the play. As the play begins, Roderigo is presented as he tries to be close to Desdemona.

The theme runs throughout the play until the end, leaving Othello very angry and envious because he believes that Cassio and Desdemona have been entangled in an affair. The jealousy of some characters in the play is influenced by other characters. Lago is the greatest victim of this and creates lies and presents situations aimed at misleading the other characters. He exhibits jealousy towards Cassio and Othello because he was not appointed as a lieutenant.

Lago can be described as a jealous character since he wishes every other person could share in his feelings so he goes ahead to plant the seed of jealousy in other characters. He is driven by anger and envy and aims at instilling jealousy in all the other characters, an aim he achieves through manipulating and betraying them, particularly Othello.

The play begins with Roderigo’s desperate love for Desmodena after which he decides to pay Lago to take her from Othello. This is an important scene in the play since it depicts Lago as a villainous character.

The deeds of Lago and his words portray him as a manipulative character. He designs a plan to ruin Othello by calling him a thief since he has stolen the heart of Desmodena through witchcraft. He goes on to implore Roderigo to confront Desmodena’s father by telling him, ‘call up her father, rouse him…poison his delights…do, with like timorous accent and dire yell’ (Shakespeare 64).

In actual sense, Lago is not concerned about the heart of Roderigo. This implies that Roderigo’s love for Desdemona and the fact that he wants to be with her means nothing to Lago. His intentions are not geared towards helping Roderigo look for Desdemona but encourage Brabantio to pursue Othello because this would disturb him.

Lago perfects the art of speaking things that people would want to hear hence misleading them and making them react according to his plans. He is so witty in his diction to keep off any possible argument and confrontation.

He treats Othello in a manipulative manner when he convinces Roderigo to confront Desdemona’s father regarding the conduct of the daughter. Brabantio finds it difficult to believe the accusations leveled against her daughter by the two and dismisses them as absurd. He is angered by the two after they disturb him at night when he is asleep.

After this incident, Roderigo tries to justify his accusations but his actions only serve to further anger Brabantio. He refers to Roderigo as a villain while Roderigo calls him a senator. Brabantio is baffled by the remark made by Roderigo and sits back to reexamine the situation once more. After carefully re-examining the situation, his anger subsides and starts considering the stories told by the two especially when he discovers that Desdemona is not in her bed chamber (Sparknotes 3).

Lago chooses his words judiciously and expresses his views carefully. He knows what to say and the most appropriate time to say it in order to convince his listeners. He practices this especially when talking to Roderigo and Othello. He begins his talks with imperatives then follows them with self answered questions and concludes by making daring assertions.

The timing nature of Lago is evident when he speaks to Roderigo about the suspicions of Desdemona being in love with Othello. Lago brings out Othello as a deceitful person whose lies are believed by Desdemona. He then uses these lies to manipulate Roderigo by telling him that he is capable of distinguishing the relationship between Othello and Desdemona. However, what drives Lago to manipulate Othello is the jealousy he harbors towards him.

The actions of Lago and Othello are based on what they say and do. Both have hidden intentions of dominating over each other. Othello is seeking answers while Lago intends to manipulate those he considers to have hurt him. As a result, Lago manipulates the conversations to cause Othello create conclusions that suit him.

By using this strategy, Lago waits for Othello’s answer for him to craft a response that will increase his jealousy. For example, when Desdemona is seen with Cassio in a private place, Othello asks Lago about it. Lago answers Othello by telling him that he believes it was Cassio. Clearly, Lago evades the question asked by Othello but instead frames his own answer hence manipulating Othello to answer his own question (Shakespeare 65).

Lago employs suspicion, forestalled criticism, hints and twists reality. He frames the relationship between Cassio and Desdemona for the sake of convenience. He is so determined to ensure that Othello develops unending jealousy for Desdemona by insinuating that Desmodena is unfaithful.

The chance presents itself when Cassio and Desmodena are spotted together. Lago slyly comments about the behavior of the two, a comment that elicits serious thoughts in Othello and wonders what their intentions were. When Othello tries to get more information from Lago, he declines to give any information and this makes Othello more suspicious.

As a result, his jealousy towards Desdemona continues to grow. Lago uses implied communications to make sure that he achieves his goals. He manages to change the perceptions that Othello has towards Cassio and leaves him asking for more information. Othello tries to understand whether the accusations of unfaithfulness made by Lago against Desmodena are right.

Lago tells Othello that he should not continue thinking about the adulteries committed but instead Othello thinks about them deeply. He is persuaded by Lago and he develops jealousy towards Desmodena but never questions the two about the affair. Othello adheres to what he is told by Lago and relies on available predetermined evidence. For instance, when a handkerchief that belongs to Desdemona is found on the bed chamber of Cassio, he is convinced that Desdemona is unfaithful.

Othello’s jealousy towards Desdemona continues to increase and to him the only person who can be trusted is Lago because he seems concerned about his life. Lago is engaged in many secret strategies and manipulates him to move in the direction he wants by pretending to be an innocent person. This is a scheme that portrays Lago as a person who sympathizes with Othello but the case is different.

The deceitful nature of Lago is exhibited when he tells Othello that Desdemona lied to his father about marrying Othello. When Lago points out the past deeds of Desdemona, Othello continues developing jealousy towards her because she lied to her father regarding the marriage (Sparknotes 5).

Desdemona is represented as a mere pawn to Lago. In the first episodes of the play, Lago is not so much interested in her. He only mentions her when talking to Othello about her unfaithfulness.

Later in the development of the play, Lago feels threatened after Desdemona asks about his perception of women and how he depicts them. This compels Lago to express love that is not genuine simply because he has been forced to do so. However, this makes him angered and expresses his jealousy towards Desdemona till the end of the play.

The motivation of the evil acts that are perpetrated by Lago in the play is not brought out clearly in the play. He is angered and harbors intense jealousy towards other characters just because Cassio was appointed a lieutenant despite the fact that Lago was more experienced.

He too becomes jealous of Othello although his manipulative character is not justified by this jealousy towards Othello. The truth of the matter is that Lago is very jealous and strives towards developing the jealousy he has in other characters. He believes that he is the person undergoing a lot of suffering and wants other characters to develop anger and jealousy.

Lago comes out as one of the villainous characters in the works of William Shakespeare. What brings out this character is the fact that he secretly creates the trouble happening in the play but he pretends to be innocent and blameless such that nobody suspects him. He achieves this by applying manipulative strategies that end up betraying other characters.

He always tells lies that cause serious consequences but he expresses sympathy and is ever ready to share his secrets with somebody. It is not clear why Lago acts the way he acts and this makes him even more frightening. He is full of jealousy and wants every other person to feel as jealous as he is. The jealousy of Lago and his efforts to develop the same jealousy in others eventually leads into the deaths of many people and his own downfall.

Shakespeare, William. Othello. New York: Plain Label Books, 1968. Print.

SparkNotes. Themes, Motifs & Symbols . 2011. Web.

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Read our detailed notes on the play Othello by William Shakespeare. Our notes cover Othello summary, themes, characters, and a detailed analysis.

Introduction

Othello, also titled The Tragedy of Othello, The Moor of Venice, is a tragic play written by William Shakespeare in 1603 (as accepted by most scholars). The play was first staged on November 1st, 1604 and 1st published in 1622 by Thomas Walkley. The idea of comes from Italian writer’s play The Moorish Captain, published in 1565. Shakespeare molded the play and fit it according to his own age and place.

The time and place of the setting of play is the 16th century during the war between Venice and Turkey and set in Venice, respectively. Othello is the protagonist of the play who marries to Desdemona despite the difference between their ages. Iago, the antagonist of the play, interrupted the play by convincing Othello that Desdemona is unfaithful. The main themes of the play include love, an inconsistency of the military heroism, and fear of isolation. The symbols of the play are the handkerchief, and the song “willow”.

Othello by William Shakespeare Summary

The play opens on the street of Venice, in the mid of conversation between Roderigo, a wealthy man, and Iago, the antagonist. Earlier Roderigo has been remunerating Iago to help in marrying Desdemona, however, now they have learned that Desdemona has just got married to Othello, a general whom Iago served. Iago claims that he hates Othello as he, in favor of soldier Cassio, has promoted to the rank of lieutenant and passed over Iago.

Iago and Roderigo go to inform Brabanzio that his daughter Desdemona has been kidnapped and married to Othello, the Moor. Brabanzio gathers some officers in search of Othello. Iago plays a double game and goes to Othello before Brabanzio finds him out, not wanting that his hatred for Othello reveals to him.

Meanwhile, Cassio comes to Othello in an emergency with a message from the duke that his (Othello’s) helps is needed in a matter of Turkish invasion. Soon Brabanzio, along with Roderigo and some other officer, arrives at Othello’s place to accuse him of stealing his daughter via witchcraft. There they find out that Othello is gone to have a meeting with the duke so Brabanzio decides to accuse Othello in front of the duke and accumulated senate.

The plan of Brabanzio backfires. The Senate and the duke are on the side of Othello and shows sympathy toward him. Othello is given a chance to defend himself. He explains that he doesn’t marry Desdemona through witchcraft but impressed her through his stories of travels and adventures in wars. The duke seems to be convincing with Othello’s explanation.

Moreover, Desdemona herself enters and defends her choice and her husband. Disappointed Brabanzio acquiesces and lets the meeting to resume. The duke, in the meeting, expresses that Othello must go to aid the protection against the Turks. Desdemona insisted to accompany her husband on the war.

The following day, in Cyprus, the news arrives that the Turkish Fleet has been worn-out at sea. In the meanwhile, three of the ships from Venice arrived safely and didn’t suffer the same fate. Cassio, Iago, Iago’s wife (Emilia) Roderigo, Desdemona, and Othello all landed safely at Cyprus.

Othello was in the last ship and arrives late from his wife, Desdemona. When he arrives, he meets his wife and announces they will celebrating their triumph over Turks this evening.

After the announcement, everyone leaves for their rooms, but Roderigo stays and complains to Iago that he will not be able to break up Othello’s marriage. Iago guarantees him that soon Desdemona will get bored of Othello as he is ugly and will find someone else for sexual satisfaction.

Moreover, he warns Roderigo of that “someone” and claims him to be Cassio. Iago, at the same time, directs Roderigo to have a fight with Cassio at the celebration by disgracing him. To ruin Othello, the 1st step should be to eliminate Cassio from Othello’s life, says Iago in isolation.

At the evening celebration, Roderigo does what he was directed to do. The drunk Cassio starts chasing Roderigo across the stage. When Governor Montano attempts to calm Cassio, Cassio bashes at him. Roderigo is sent by Iago to raise alarm in the town.

Rodrigo rings the alarm due to which Othello arrives in an emergency to investigate the matter (Othello had left the party earlier in order to celebrate her marriage life with his wife, Desdemona). When Othello inquires about the matter, Iago pretends as if he doesn’t want to involve Cassio, however, conveys the matter indirectly.

Consequently, Othello asks Cassio to surrender his rank of lieutenant. Extremely dishearten by this treatment, Cassio laments before Iago that his reputation has been ruined forever. Iago cunningly convinces Cassio that if he wants to restore his position before Othello, he must use the favor of Desdemona as an intermediary person. Iago plans that he will frame Desdemona and Cassio as lovers to Othello to make him jealous and his target, simultaneously will be achieved.

For reconciliation with Othello, Othello arranges some instrumentalists to play underneath Othello’s window. Irritated with this, Othello asks his clown to go and send the instrumentalists away. Cassio asks Othello’s clown to send Emilia to him in order to arrange a meeting with Desdemona.

When the clown departs, Iago again fills in Cassio’s mind that he should meet Desdemona in complete isolation. For this Iago will help him to get Othello out of the way. Iago makes Othello and another gentleman to inspect the town’s fortification.

Desdemona seems to be quite sympathetic to Cassio when he tells her the whole story. Desdemona assures him that she will help him so that Othello forgives him and return him his former rank of Lieutenant. When Cassio was leaving Desdemona’s room, Iago and Othello reaches there and watch him leave. On Othello’s confirmation that whether he was Cassio or not, Iago starts igniting a fire of jealousy in Othello.

Due to this, Othello turns out to be upset and moody. Iago, to achieve his goal, suggests to Othello that Cassio and Desdemona might have some affair. On the other hand, Desdemona’s favor toward Cassio adds to Othello’s conviction that Desdemona is unfaithful to him.

Soon after a conservation between Othello and Iago, Desdemona comes to call Othello for a dinner where she finds that Othello is feeling unwell. She offers her handkerchief that he find too small and eventfully it fells down. This handkerchief is picked by Emilia remembering that Iago always wanted her to steal it from Desdemona.

Emilia gives the handkerchief to Iago that makes him overjoyed. Iago places the handkerchief in Cassio’s room as proof of Desdemona’s affair with Cassio. On Othello’s demand for evidence for the unfaithfulness of his wife, Iago tells him that he sees Cassio wiping his beard with the handkerchief that he gave Desdemona as a gift. On that point, Othello vows to avenge Desdemona and Cassio, while Iago vows to help him in this regard.

Later that evening, Othello demands from Desdemona to return him the handkerchief he gifted her, Desdemona says that she doesn’t have it and changes the topic. This makes Othello super angry and burst out. Later, Cassio comes across the handkerchief in his chamber and wonders about it. He gives that handkerchief to Bianca, a prostitute to copy its embroidery for him.

Too much consumed by jealousy, Othello falls into abstraction and has fits of epilepsy. Othello writes something on the ground, meanwhile, Cassio enters but Iago tells him to return a few minutes back. Here Iago plays another game. He, on the one side, tells Othello, as he recovers, that he is going to arrange a meeting with Cassio where he will confess his affair with Desdemona while on the other side he asks Cassio to say something about Bianca.

This creates a misunderstanding once more and Othello’s suspicions were confirmed. The scene catches fire when Bianca herself enters with the handkerchief chiding Cassio for making her a copy of it for him and he received it as a token of love given by some other woman. Desdemona also enters and gives Othello a letter from Venice. Othello is called back to home and instructed to appoint Cassio in place of him. This makes Othello super angry and strikes Desdemona.

Desdemona and Othello have fought and Othello accuses her of being a whore. Desdemona protested that was accompanied by Emilia but he ignores her and asks her to wait for her in the bedchamber tonight. Desdemona waits for him while sends Emilia away. Meanwhile, Iago convinces Roderigo that if he wants Desdemona he should kill Cassio.

Roderigo was instructed by Iago to kill Cassio, However, in an attempt to kill Cassio, Roderigo gets wounded by Cassio. Watching the scene and taking advantage of the moment, Iago attacks Cassio but fails to kill him rather wounds him. Othello, by hearing Cassio’s cry, assumes that he has been murdered by Iago as he had promised him to do so. Shortly after they discover that Roderigo has been killed. The clown takes Cassio to dress his wounds.

Meanwhile, in the bedchamber, Othello prepares himself to kill his sleeping wife. Desdemona wakes up and begged Othello. She confirms him her innocence but Othello oppresses her. Emilia enters with the news of Rodrigo’s death and Othello asks her if Cassio is dead or not that Emilia negates.

Soon Othello wounds Desdemona, she cries out claiming that she has committed a suicide. Emilia returns hearing the cries and asks Othello that what happened. He tells her that he has killed Desdemona for her faithfulness that was brought into attention by Iago.

Everyone else comes to the bedchamber. Emilia realizes immediately that what has been done by Iago and speaks up. Iago tries to silence Emilia. Othello, at first sided Iago and refers the handkerchief as a proof.

However, this confusion soon dispatches when Emilia tells him that she found the handkerchief and gave it to Iago. The crushed Othello attempts to kill Iago but he soon flees away after killing Emilia. He is immediately caught by the clowns. Othello tries to kill Iago but is disarmed. Othello makes a speech and kills himself. The ended with Lodovico’s speech who announces to hand over Othello’s house to Graziano and orders the execution of Iago.

Themes in Othello

Love and the discordancy of military heroism.

As Othello was a soldier, we see throughout the play that his married life is much affected. Just as he gets married, he is sent to Cyprus. In Cyprus when he tries to enjoy his marriage, an emergency alarm is rung in the whole town, though the matter was not that serious. We see that he asks for “fit disposition” for his wife.

While, on the other hand, we see Desdemona be very compromising a d compassionate wife. She only accompanies Othello to Cyprus but supports her and seems to be calm and untroubled with his husband’s going war. She doesn’t mind when she is awakened by the emergency alarm, however, was more curious than furious. Desdemona supports Othello in every situation and never let him feel down regarding any matter. She may also be called as Othello’s “rational warrior” and he, too, feels happy when she is around during everything.

Othello’s marriage to Desdemona provides Othello a certificate to enter to a Venetian society, previously, this society, in the play, seems to be fearful of Othello’s social status in white society; however, his marriage earn him a respect in Venetian’s society as a soldier.

Othello, consider that his success in love is just because he is a successful soldier, as he wins Desdemona’s heart by telling him the stories of wars, military travels, etc.

Moreover, Othello goes to Cyprus to fight against Turks, however, they are drowned by the natural disaster and Othello doesn’t get a chance to show his battle skills to Desdemona.

In Cyprus, they have nothing left to do. The last time we find him doing a military action is when he views fortification and that too was an extremely short scene in Act Ⅲ. Othello starts feeling uneasy in his private setting for not getting a chance to prove his manhood in public or in court.

Moreover, Iago takes advantage of the situation by calling his “epilepsy fit” the passion most unsuitable for such a brave soldier. Moreover, Iago also backbites Cassio and mentions him to Othello that Cassio has a very low opinion of him and think him as an enfeebling dream.

Othello confuses his identities (being soldier and lover) while desperately adhering to his former identity i.e. of a soldier.  The manifestation of his possessiveness rapidly transfers from the conformist i.e. “Farewell the peaceful mind” to the bizarre. One can easily guess that Othello is leaving bad habit and is completely occupied with his identity as a soldier.

However, his attitude to discerning is rather warranted by its seductiveness to the spectators as well. The audience and the Critics both seem to find comfort and nobility in the final speech of Othello plus the anecdote he tells but still, he depends upon his identity as a soldier to deliver that speech not a lover and attempts to make the audience forget about his disastrous marital life.

The Danger of Isolation

In the play Othello, the action shifts to Cyprus from the city of Venice. The city of Cyprus faces little some external dander that is why it is highly protected by military defenses and natural forces as well. the army of Turks is destroyed by the natural disaster and once Othello, Desdemona, Iago, Roderigo, Cassio, and Emilia, the main characters of the play, reach Cyprus, they have nothing else to do but to spy and make prey on one another.

Throughout the play, isolation among characters imparts special effect, for instance. The soliloquies of Iago provide us knowledge of what he is going to do; the standing apart of Othello while the conversation between Iago and Cassio is going on. Everyone leaves the stage while Othello is alone with dead bodies of Emilia and Desdemona for some time.

More importantly, Othello is considered a man from another nation and is subject to isolation because of his physical appearance and the color of his skin. Iago manipulates the distance among character to achieve his cunning plans.

The characters in the play cannot be isolated, however, the play delivers a lesson that to isolate oneself in order to preserve oneself causes an ultimate self-destruction. In the play, such isolation causes the disastrous deaths of the main Character: Iago, Othello, Roderigo, and even Emilia falls in this category.

Othello Characters Analysis

He is the protagonist and the hero of the play. Othello, a Moor, and an army general at the city of Venice, has an expressive personality and powerful stature. He is respected by everyone around him. Despite his high status, he never gets rid of his insecurities due to his age, race, and life as a soldier. He is master of “free and open” nature that has been used by Iago to screw his love for his life partner, Desdemona, and changes it to prevailing and disparaging distrust.

She is the daughter of the senator of Venetian society, Brabanzio. When the plays open, we come to know that Othello and Desdemona are married secretly. However, in many ways, we see that Desdemona is stereotypical, pure and humble. Desdemona is very strong-minded and confident. She defends her marriage by jesting bawdily towards Iago and responds to Othello’s jealousy with dignity.

He is Othello’s ensign (an ancient job), and the antagonist of the play. He is about Twenty-eight years old. He deliberately hates Othello just because he has been promoted to the rank of lieutenant. Iago’s seeks revenge from the Othello by making him against his dear ones. His motivations, throughout the play, are never expressed clearly as if they originate in obsessive and he seems to find aesthetic joy in destruction and manipulation people.

A young and inexperienced soldier and Othello’s Lieutenant, whose higher status position is begrudged by Iago. He is truly faithful to Othello and is extremely ashamed of being caught up in the brawl and consequently loses his position as lieutenant. His youth, good looks, and friendship with Desdemona are being used by Iago to make Othello jealous of him and play on Othello’s insecurities.

She is Iago’s wife and attendant to Desdemona. She is a pessimistic and worldly woman, deeply attached to Desdemona and suspicious of her husband.

He is a jealous person and wants to marry Desdemona. He is a young, foolish and rich person who is assured that if he offers some money to Iago, he will help him to marry Desdemona. He gets frustrated when he knows about Desdemona’s marriage with Othello and then Othello takes her to Cyprus. Desperate enough to get Desdemona, he agrees to help Iago to kill Cassio.

She is a prostitute in Cyprus who is much more interested in Cassio, his regular customer. Cassio makes her believe that he will marry her.

He is Desdemona’s father. He is senator of Venetian society who is somewhat loudmouthed and arrogant person. Othello was also his friend who marries his daughter.

Duke Of Venice

He is the only official authority in the city of Venice. He has the great respect for Othello for being a soldier and military servant. In this play, his role is limited to the reconciliation of Othello and Brabanzio in act 1 and then direct Othello to Cyprus.

He was the governor of Cyprus before Othello was appointed. He appears in Act 2 when he verifies the status of the war and waits for Venetians to come.

He is a kinsman of Brabanzio and acts as a messenger from Venice to Cyprus. He appears in Act 4 with a letter for Othello to return to Venice while placing Cassio in his place as the governor of Cyprus.

He, too, is a kinsman who escorts Lodovico to Cyprus. In the middle of the final he reveals a news that Desdemona’s father, Brabanzio has died.

He is Othello’s servant. He only appears in two scenes i.e. Act 3 scene 4 and Act 4 scene 1. His arrivals echo and twist the action and confrontations of the main plots. For instance, his jests on the word “lie” and forestall Othello’s muddle of two connotations of that word.

Othello Literary Analysis

The play  Othello  is a story of a soldier who is an honorable and principled army general who encountered much military success, but due to errors in judgment and status as an outsider in the Venetian society, destroys his most cherished relationship and himself. The play opens in the grandeur style of military romance reciting on the Mediterranean Sea.

Conversely, the drama ends with a suffocating end in a bedchamber where the protagonist, Othello, kills himself after murdering his innocent wife. The play transfers from huge facades that deliver a background for Othello’s valor to central spaces that offer, both factually and metaphorically, no possibility to breathe.

The contracting trajectory of the play suggests that deleterious sentiments like distrust put a sensitive choke hold on an individual, throttling their capability to think undoubtedly and therefore averting them from performing rationally. The play distinctions the grounds in which Othello is self-assured and influential, such as the external world of an encounter, with the internal spaces in which he is less confident and able to be effortlessly operated.

The tenor of the play  Othello  mainly mirrors Iago’s view of the world that is considered as pessimism and misgiving. Iago couriers his pessimism often, and predominantly in opening acts of the play. When Roderigo comes to know about Desdemona’s marriage with Othello, he feels so shameful and calls it his virtue, however, Iago condemns him that virtue is a fig and reject the idea that person’s character is set in stone. Iago’s pessimistic attitude of life averts him from feeling regret or sorrowful for his deeds.

According to Iago, he just workouts his willpower on others and cannot be seized responsible if those others are deficient of their inborn disbelief and doubt. To Iago, Othello’s unexperienced confidence in a “truthful Iago” is the real trick, not Iago’s deceitfulness.

The pessimism of Iago sets the platform for the suspicious tone in the second half of the play. When Othello progressively drops in Iago’s influence, just like Iago, he too instigates to speak wary remarks that boom Iago’s skeptical worldview. Othello, not only starts referring to the falseness and unfaithfulness of women but also calls Desdemona a “whore” on her face. His growing uncertainty echoes an all-consuming obsession that strengthens the fervors of distrust.

As he develops progressively paranoid, he inclines into a close to schizophrenic misperception. In an instant of no reason, he suggests that nature would devote herself is such a surveillance passion without some directions. Othello claims that he would not feel so intensely bothered if nothing had actually occurred amid Cassio and Desdemona. Consequently, since he does feel troubled, the custody of infidelity must be well started. Othello who usually is so rational, eloquent, and self-possessed, here employs a disordered reason that platforms the tone of fear that surpasses the play.

More From William Shakespeare

• A Midsummer Night’s Dream
• The Merchant of Venice
• Twelfth Night
• The Taming of the Shrew
• As You Like It
• Much Ado About Nothing
• The Comedy of Errors

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Themes of Jealousy, Innocence, and Revenge in Othello

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The Theme of Jealousy in Othello, Essay Example

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Shakespear’s Othello is one of the most prominent literature works that incorporates the theme of jealousy. In this play the reader can study and understand how jealousy can ruin people lives, even in cases when only the most circumstantial proof of guilt is provided. In this play, jealousy is employ as a weapon, which was unconsciously lethal because its victim tends to demolish himself and those around him. In this play, the theme of jealousy is mainly revealed through Iago and Othello. Iago uses jealousy as the source for his hatred, thus directing it against Othello. By taking different forms, like sexual suspicion or professional competition, the theme jealousy is still destructive for all the characters.

The fact of jealousy in this play shows us how it completely corrupts the lives of its main characters – Iago and Othello. Being noble and famous, Othello occupied relatively high position in the regard of his rulers, thus he had everything he needed and wanted. However, his primary weakness was revealed through his saturating insecurity and self-loathing that granted profuse ground for the scoundrel Iago to capitalize on Othello’s fatal mistake an unreasonable, unfounded jealousy, which drove him to kill what he loved the most, thus putting everything away along with his own life and destiny.

In the very first Act of the play, one of the major characters Iago puts across an ultimate and irresolvable jealousy of Othello, thus suspecting him – “that twixt my sheets / He has done my office.”(1.3.367-368) In fact, Iago sets the tone for the way jealousy effects the characters in the play. Iago appears to be not certain that Othello is actually cuckolding him, thus without having any evidence he is still being suspicious – “I know not if’t be true; / But I, for mere suspicion in that kind, / Will do as if for surety.”(1.3.371) “His destruction of Cassion is not only a means towards the ruin of Othello, but also an end in itself.”(Elster, 109) Thus, Iago is constantly reflecting his own envious and jealous feelings. However, it is Othello and his intense jealous behavior that encompass the major theme of the play. Othello appears to be the center of power, thus his behavior and exercise of free will strongly affects everyone around him. In his turn, Iago uses Othello’s prevailing insecurity and jealousy as the means for instant changes in Othello’s attitude towards Desdemona. As a result, Othello’s jealousy makes him to overestimate the worth of the handkerchief “More than indeed belonged to such a trifle”(5.2.226) and as a result underestimate his wife’s true worth like “the base Indian.”(Korda, 112)

Eventually, Iago uncovers his plans to get even with Othello:

“And nothing can or shall content my soul Till I am even’d with him, wife for wife, Or failing so, yet that I put the Moor At least into a jealousy so strong”(2.1.275-279)

Consequently, as Iago unfurls his plans and intentions, he uses the ‘monster’ metaphor for the description of jealousy in an insincere, ironic warning to Othello to watch out “O beware jealousy; / it is the green-eyed monster which doth mock / The meat it feeds on”(3.3.165) In the scene when Emilia warns Desdemona that a jealousy in men is a “monster / Begot upon itself, born on itself”(3.4.156-157) the thread continues. As a result, Desdemona trembles at the thought Othello’s potential jealousy, thus praying “Heaven keep the monster from Othello’s mind!”(3.4.158) I appears that Emilia serves as an ignorant contributor to Iago’s web through handing him the handkerchief of Desdemona. So, first she assists Iago, and then she ‘kills’ him by revealing his betrayal. But at this point, the jealousy has already killed Desdemona; Emilia will pay a high price of her life as well; it will take Othello by suicide, and will destroy Iago through torture and punishment. Of course, the fundamental root of the tragedy is Othello’s trustfulness and insecurity, thus he listens to Iago’s words and lets himself to be cast adrift in self-doubt and failure to believe that Desdemona can truly be in love with him.

Shakespeare’s Othello is a heartrending paradigm of mankind’s legacy of doubt and disappointment, and the way they poison the free will given to us by God. The tragedy is that if Othello only would have kept believing in Desdemona’s honesty and accepted her devotion and faithfulness, he could have lived a long and happy life. However, we observe completely opposite picture in the play. In fact, the play and its tragedy could be a perfect example of how pure faith and acceptance are more valuable than contaminated free will.

Works Cited

Shakespeare, William. Othello . Classic Books Company, 2001.

Korda, Natasha. Shakespeare’s Domestic Economies: Gender and Property in Early Modern England . University of Pennsylvania Press, 2002.

Elster, Jon. Alchemies of the mind: rationality and the emotions . Cambridge University Press, 1999

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OTHELLO ESSAY PLANS A Level English Literature (Themes) (Edexcel)

Subject: English

Age range: 16+

Resource type: Assessment and revision

Last updated

14 March 2024

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7 ESSAY PLANS IN THIS BUNDLE Essay plans summarising the key aspects of the many themes that appear in Othello. Includes the themes of jealousy, gender, manipulation, order and choas, passion and the self, race and reputation. These essay plans feature topic sentences, quotes, critical statements and context.These essay plans are very detailed and can be used in isolation to revise for different possible essay questions. It is succinct and designed to be a practical revision resource for the exam. I am a former student on the edexcel specification and achieved an A* in English Literature as a result of creating this resource.

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OTHELLO REVISION PACK- Complete with Essay Plans, A Quote Bank , A Critics Bank, Context & an Exemplar Essay

This pack has all the materials that **I used to get an A* in Edexcel A Level English Literature**. This pack has **7 essay plans** (quotes, literary and historical context, topic sentences) on the main themes in Othello. It also has **4 essay plans** on the main characters in Othello (Iago, Othello, Desdemona and Emilia). I have included a **quote bank** with analysis beside each quote, as well as a **critical quote bank**. This critical quote bank has quotes on Othello, Iago, Desdemona, Women, Tragedy and more. I have also included a **context summary sheet**, as well as an **example essay** that was graded an A* (30/35) on the theme of identity.

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A Deep Dive into the Whimsical World of Roger Rabbit Characters

This essay about the iconic characters from “Who Framed Roger Rabbit” examines their distinct roles and contributions to the film’s success. It explores Roger Rabbit’s lovable and chaotic nature, Jessica Rabbit’s complex femme fatale persona, and Eddie Valiant’s transformation from a jaded detective to a compassionate ally. The analysis also covers the menacing Judge Doom and his impact on the story’s themes of greed and urban decay. Supporting characters like Benny the Cab and Baby Herman enrich the narrative with humor and additional layers of complexity. Through a detailed examination of these characters, the essay highlights how the film blends animation with live action to address deeper themes of redemption, identity, and justice, maintaining its relevance and appeal over the years.

How it works

The innovative movie “Who Framed Roger Rabbit” creates a vivid environment where cartoons and humans interact by combining live-action and animation in a novel way. The 1988 film, which was directed by Robert Zemeckis, is now regarded as a revered classic because of its inventive use of technology and gripping plot. But what really makes it appealing are the endearing characters, each of whom adds a unique voice to the story. This article explores the motivations and personas of the movie’s principal players, emphasizing how they contributed to the movie’s enduring influence.

Roger Rabbit, the titular character, is an exuberant and somewhat clumsy toon rabbit whose life spirals into chaos when he is accused of murder. With his red overalls and blue bow tie, Roger’s design is deliberately zany, aligning with his personality. He represents the quintessential animated character—bubbly, accident-prone, and utterly lovable. Despite his antics, Roger’s loyalty and innocence endear him to viewers, making his predicament all the more engaging. His catchphrase, “P-p-please!” epitomizes his desperate yet hopeful outlook, adding depth to his character as more than just comic relief.

Jessica Rabbit, Roger’s wife, stands as one of the film’s most iconic figures. Contrary to typical cartoon characters, Jessica is designed with glamorous and exaggerated features that ooze a film noir femme fatale aura. Yet, her character is far from one-dimensional. Jessica’s famous line, “I’m not bad; I’m just drawn that way,” hints at the complexity of toon identity in a human world, challenging the viewer’s expectations of morality and agency. Her loyalty to Roger and crucial role in unraveling the film’s mystery show her intelligence and resourcefulness, making her a pivotal character in the story.

Another significant character is Eddie Valiant, a down-on-his-luck private detective who becomes Roger’s reluctant ally. Eddie’s character bridges the gap between the real world and the animated world, serving as the audience’s entry point into the film’s hybrid universe. His progression from a bitter, toon-hating detective to Roger’s supportive friend mirrors the film’s deeper themes of redemption and reconciliation. Eddie’s backstory and personal growth throughout the movie provide a human counterpoint to the cartoon antics, grounding the narrative in emotional reality.

Lastly, the villain, Judge Doom, presents a chilling antagonist whose true nature is cleverly concealed until the climax. His creation involves an ingenious mix of animation and live-action, embodying the potential for darkness within both humans and toons. Judge Doom’s plan to eradicate Toontown with a “Dip” concocted to dissolve cartoons is diabolical yet fascinating, emphasizing the film’s underlying commentary on urban development and corporate greed.

Supporting characters like Benny the Cab, Baby Herman, and the weasels add layers of humor and complexity, enhancing the film’s dynamic environment. Each character, whether major or minor, contributes uniquely to the rich tapestry of the story, driving the narrative forward through their individual quirks and conflicts.

“Who Framed Roger Rabbit” remains a testament to the possibilities of animation and its capacity to convey profound human emotions. The characters are not merely humorous figures but represent broader themes such as love, betrayal, and justice. As we dissect these beloved characters, we gain insights into not only their roles within the film but also the innovative spirit of the time that brought them to life. This timeless movie continues to captivate audiences, thanks in large part to its memorable cast and the depth of their personalities. Whether viewed as a light-hearted romp or a nuanced social commentary, the characters of Roger Rabbit ensure that the film’s charm and message resonate long after the credits roll.

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"A Deep Dive into the Whimsical World of Roger Rabbit Characters." PapersOwl.com , 12 May 2024, https://papersowl.com/examples/a-deep-dive-into-the-whimsical-world-of-roger-rabbit-characters/

PapersOwl.com. (2024). A Deep Dive into the Whimsical World of Roger Rabbit Characters . [Online]. Available at: https://papersowl.com/examples/a-deep-dive-into-the-whimsical-world-of-roger-rabbit-characters/ [Accessed: 12 May. 2024]

"A Deep Dive into the Whimsical World of Roger Rabbit Characters." PapersOwl.com, May 12, 2024. Accessed May 12, 2024. https://papersowl.com/examples/a-deep-dive-into-the-whimsical-world-of-roger-rabbit-characters/

"A Deep Dive into the Whimsical World of Roger Rabbit Characters," PapersOwl.com , 12-May-2024. [Online]. Available: https://papersowl.com/examples/a-deep-dive-into-the-whimsical-world-of-roger-rabbit-characters/. [Accessed: 12-May-2024]

PapersOwl.com. (2024). A Deep Dive into the Whimsical World of Roger Rabbit Characters . [Online]. Available at: https://papersowl.com/examples/a-deep-dive-into-the-whimsical-world-of-roger-rabbit-characters/ [Accessed: 12-May-2024]

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