othello essay questions act 1

by William Shakespeare

Othello summary and analysis of act i, act i, scene i: venice. a street..

Othello begins in the city of Venice, at night; Roderigo is having a discussion with Iago , who is bitter about being passed up for a military post. Though Iago is seasoned in battle, Cassio , a man of strategy but little practical experience, was named Othello's lieutenant. Iago says that he only serves Othello to further himself, and makes shows of his allegiance only for his own gain; he is playing false, and admits that his nature is not at all what it seems. Iago is aware that Desdemona , the daughter of Brabantio , a Venetian nobleman of some stature, has run off with Othello, the black warrior of the Moors. Brabantio knows nothing of this coupling; Iago decides to enlist Roderigo, who lusts after Desdemona, to awaken Brabantio with screams that his daughter is gone.

At first, Brabantio dismisses these cries in the dark; but when he realizes his daughter is not at home, he gives the news some credence. Though Roderigo speaks to Brabantio, Iago is there too, hidden, yelling unsavory things about Othello and his intentions toward Desdemona. Brabantio panics, and calls for a search party to find Desdemona. Iago leaves, not wanting anyone to find out that he betrayed his own leader.

The relationship between Roderigo and Iago is obviously somewhat close. Iago "hast had [Roderigo's] purse as if the strings were thine"; the metaphor shows how much trust Roderigo has in Iago, and also how he uses Iago as a confidante (I.i.2-3). Does Iago share the same kind of feeling? As far as Roderigo knows, Iago is his friend, but Iago reveals his manipulative nature in this first scene.

Iago trusts Roderigo with the knowledge that he serves Othello only to achieve his own goals. It is thus ironic that after Iago's lengthy confession of duplicity, Roderigo still does not suspect anything untoward in his request. Appearance vs. reality is a crucial theme in Iago's story; throughout the play, he enacts a series of roles, from advisor to confidante, and appears to be helping people though he is only acting out of his twisted self-interest.

Iago seems to do a great deal of character analysis and exposition for the audience. "These fellows" that flatter for their own purposes "have some soul," Iago says (I.i.54). Contrary to his underhanded self-flattery, Iago seems to have no soul; he never repents, never lets up with his schemes, and never seems to tire of the damage he causes. His statement, "In following [Othello] I follow but myself" emphasizes that he is acting completely out of his own self-interest (I.i.58). Iago will thus hide his motivations and convey only falsehood. If he were to "wear [his] heart upon [his] sleeve", he would be torn apart (I.i.64). Honesty would destroy him.

Even when he is at his most honest, in this scene with Roderigo, Iago misrepresents just how evil he truly is. Iago parallels another Shakespearean character, Richard III , in his self-awareness of his villainous character, and lack of remorse and use of false representations. In this first scene, Iago has foreshadowed the great deceptions that he will engineer.

Already, the racial issues and themes at the core of Othello are beginning to surface. When Roderigo refers to Othello, he calls him "the thicklips", using a synecdoche that highlights only Othello's foreignness and belies Roderigo's distrust of Othello based solely on his color (I.i.66). Roderigo and Iago are not the only characters to display racism when referring to Othello; racism is a pervasive theme within the work, one that is evident even from the first scene of the play.

Another element that surfaces repeatedly in the play is the use of animal imagery; "an old black ram is topping your white ewe," Iago yells to Brabantio from the street (I.i.88-9). Animal imagery is used to convey immorality, or, here, a bestial desire or illicit passion. Iago later compares Othello to a "Barbary horse" coupling with Desdemona, reinforcing a lustful picture of Othello (I.i.111). Iago's statement is doubly potent, since it not only condemns Othello for his alleged lust, but also plays on Brabantio's misgivings about Othello's color, and outsider status. The juxtaposition of black and white, in connection with the animal imagery, is meant to make this image very repellent, and to inflame Brabantio to anger and action.

Iago especially mentions the devil many times in the text, beginning in the first scene. He implies Othello is devil-like, with his lust, indiscretion, and strangeness to Venice; the irony is that Iago is so quick to make others out to be evil, when it is he who is the center of blackness and foul deeds in the play. The devil often takes disguises, just as Iago does.

The setting of night is important to the play. Like in the first scene of Hamlet, the darkness introduces a eerie feel, and a certain disorder rules over the proceedings. With Brabantio's call for light, there is a corresponding call for some kind of order; darkness vs. light and order vs. disorder are important juxtapositions within the play. This theme will appear again at the end, as the play returns to darkness, and also to chaos.

Act I, scene ii: Another street.

Iago has now joined Othello, and has told him about Roderigo's betrayal of the news of his marriage to Brabantio. He tells Othello that Brabantio is upset, and will probably try to tear Desdemona from him. Cassio comes at last, as do Roderigo and Brabantio; Iago threatens Roderigo with violence, again making a false show of his loyalty to Othello. Brabantio is very angry, swearing that Othello must have bewitched his daughter, and that the state will not decide for him in this case. Othello says that the Duke must hear him and decide in his favor, or all is far from right in Venice.

Iago continues his deliberate misrepresentation, swearing to Othello that he could have killed Roderigo for his actions. Iago is a very skilled actor; he is able to successfully present a contrary appearance, and get away with it. Iago alludes to Janus, the two-faced god, in his conversation with Othello. Since Iago himself is two-faced, Janus seems to be a fitting figure for Iago to invoke.

Iago's duplicity is again exhibited in this scene as his tone swings from friendly to backbiting as soon as Othello steps away, and then back to friendliness when Othello returns. Whereas Iago pretended to be supportive of Othello's marriage to Desdemona, when Cassio enters, he uses a rather uncomplimentary metaphor to describe the coupling. "He tonight hath boarded a land carack," Iago tells Cassio; his diction and choice of metaphor make Othello into some kind of pirate, stealing Desdemona's love, while reducing Desdemona into a mere prize (I.ii.50). But, this tone is carefully calculated; Iago will soon want Cassio to think of Desdemona as an object to be taken, and to believe Othello to be less honorable than he is.

Othello's pride first becomes visible here; he is exceptionally proud of his achievements and his public stature, and pride is an overarching theme of Othello's story. He is also proud of Desdemona's affection for him, which leads him to overstate their bond; he would not give her up "for the seas' worth," (l.ii.28). Othello is very confident in his position, and in the respect he commands; if the leaders of the city decide to deny a worthy man like him his marriage to Desdemona, then he believes "bondslaves and pagans shall our statesmen be" (I.ii.99). This statement illustrates Othello's faith in the state and in the Duke's regard for him.

Again, the issue of race comes to the fore, as Brabantio confronts Othello about his marriage to Desdemona. Desdemona never would have "run from her guardage to the sooty bosom of a thing such as thou," Brabantio says (l.ii.70-71). Brabantio assumes that Desdemona must have been "enchanted" to marry Othello because she could not desire a Moor. Brabantio ignores all of Othello's good qualities, allowing only for his prejudice to influence his judgment. Magic is another recurring theme, and here it is linked to stereotypes of Africans as purveyors of black arts or paganism.

During the time period when Othello was written, there were in fact free blacks in England, however, racism was even more pronounced in Shakespeare's England than it is in the play. A person like Othello could not have risen to such ranks in England at the time. Othello manages to avoid stereotyping more effectively than other Shakespearean characters, like Shylock, who represents the anti-Semitic views of his time. Though Othello is constantly confronted by stereotypes, he manages to evade them through his nobility and individuality.

Act I, scene iii: A council-chamber.

It is reported that Turkish ships are heading towards Cyprus to challenge the Venetian stronghold of the island. Defensive actions will be necessary. Brabantio and Othello meet with the senators who are discussing the battle, and Brabantio announces his grievance against Othello for marrying his daughter.

Othello addresses the company, admitting that he did marry Desdemona, but wooed her with stories and not witchcraft. Desdemona comes to speak, and she confirms Othello's words; Brabantio's grievance is denied, and Desdemona will indeed stay with Othello. Othello is called away to Cyprus and he begs that Desdemona be able to go with him, since they have been married for so little time. Othello and Desdemona win their appeal, and Desdemona is to stay with Iago, until she can come to Cyprus and meet Othello there.

Jealous Roderigo is upset that Desdemona and Othello's union is allowed to stand. But Iago assures him that the match will not last long, and at any time, Desdemona could come rushing to him. Iago wants to break up the couple, using Roderigo as his pawn.

Brabantio again accuses Othello of bewitching his daughter, and airs his racially-charged grievances. He believes nature has made some mistake. Brabantio likens his grief to a flood that "engluts and swallows other sorrows, and is still itself" (I.iii.57-58). His strong objection foreshadows a confrontation between him and his daughter, and if Desdemona does choose to stay with Othello, it seems likely she will risk her father's love.

Othello's appointment to Cyprus marks the true beginning of his tragedy; for, when he is away from Venice, a place of familiarity, order, and law, Othello will be much more vulnerable to Iago's vicious attacks. This battle between order and chaos is a theme running throughout the play, and as Othello sinks deeper into distrust of Desdemona and is consumed by his jealousy, chaos increases and threatens to devour him.

The Duke's words of advice to Othello and Desdemona foretell trouble between the couple if they do not let grievances go, which indeed contributes to Othello's fall. Here, the change of the verse into couplets signals the importance of the advice being offered. The words of the Duke, and Brabantio's words that follow, are emphasized by this technique; the reader is notified, through the couplet rhyme, which hasn't appeared before in the text, that these are words that must be marked.

Although Othello pretends to be poorly spoken, the only magic he possesses is in his power of language. His language shows his pride in his achievements, and also allows him to make himself into a kind of hero. Othello portrays himself as a tested, honorable warrior, and indeed is such. However, this view of himself will prove troublesome when he is unable to acknowledge his jealousy and lust; his inability to reconcile himself with these two aspects of his personality means that his comeuppance is almost certain. Pride goes before his fall.

Othello's speech before the assembly shows what he believes Desdemona's love to be; he thinks that Desdemona's affection is a form of hero-worship, and she loves him for the stories he tells, and the things he has done. He believes it is his allusions to strange peoples and places, like the "Anthropophagi," that fascinate her, and this youthful fascination forms the core of her affections. Indeed, his powers of language successfully win the Duke over, and soften Brabantio's disapproval.

Light and dark are again juxtaposed in the Duke's declaration to Brabantio: "if virtue no delighted beauty lack, your son-in-law is far more fair than black" (I.iii.290-291). Here, black is associated with ugliness, sin, and darkness, and, by extension, blacks are assumed to embody these traits. The Duke plays down Othello's race, saying he is more "fair" - light or just - than "black". This does not mean the Duke is forward-thinking, only that he can vouch for Othello, who does not seem to have the characteristics of his race. It's a backhanded compliment. Light/white/fairness all convey innocence, goodness, etc.; any symbol that is white has these qualities. The juxtaposition of black and white, light and dark shows up again and again in the play, as the colors become symbolic within the story.

Because Iago is a very good judge of human nature, he is able to manipulate others with ease - and, this cleverness also means that he is a source of wisdom in the play, no matter how wickedly he chooses to use this knowledge. Iago tells Roderigo, "Our bodies are our gardens, to the which our wills are gardeners" (I.iii.322-323). Iago knows one can choose to cultivate vice or virtue. Othello, Roderigo, and Cassio do have vices that they allow to grow in themselves, but they also have aspects of themselves which balance these vices out. Iago's knowledge of this allows him to do away with this balance and set chaos into motion, which leads to tragedy.

Here, Iago's purpose becomes plain; he sees that Othello and Desdemona's marriage is less than solid, and seeks to use his powers to break this marriage apart. Iago is again "honest" about his intent, but only to a person whose involvement will help him greatly. The words "honest" and "honesty" appear repeatedly in the play, used primarily by Iago, or in reference to him; ironically, Iago is the only person in the play whom Othello trusts to judge who is and is not honest, and the only one whose integrity is not questioned until it is too late.

Honesty becomes an important question, and theme, in the story; characters repeatedly ask themselves who is honest, who can be trusted, and Iago indeed plays on their honesty to make them believe falsely. The word "honest" is often used in an ironic context, or to indicate that someone or something cannot be trusted. Under Iago's influence, honesty becomes a difficult liability, and speeds the downfall of many good characters.

Othello Questions and Answers

The Question and Answer section for Othello is a great resource to ask questions, find answers, and discuss the novel.

what attributers of the green eyed monster jealousy are made painful apparent as the scene progresses

Jealousy is the green-eyed monster in this scene. In Act 3 scene 3 Othello pretty much displays his jealousy,

desdemonas speech here confirms the masterly nature of iagos plot with what words does she assure cassio that she will do her best to get him reinstated

What is your question here?

why does othello ignore the cries for help?

Othello is hurdling towards self-destruction: sadly, by the deaths of people closest to him. Like tragic heroes such as Macbeth, Othello's senses are dull to tragedy and screams of terror. Roderigo and Cassio fight, and both are injured; Othello...

Study Guide for Othello

Othello study guide contains a biography of William Shakespeare, literature essays, a complete e-text, quiz questions, major themes, characters, and a full summary and analysis.

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Essays for Othello

Othello essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Othello by William Shakespeare.

• Iago and Edmund: The Silence and Complexity of Evil
• Unity in Shakespeare's Tragedies
• Inevitability and the Nature of Shakespeare's Tragedies
• Witchy Women: Female Magic and Otherness in Western Literature
• Racism in Othello

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A Level Study Notes and Revision Guides

Othello: a level york notes, william shakespeare, act i scene 1, extract analysis, act i scene 1 lines 81-138.

A heated exchange between Iago, Roderigo and Brabantio occurs immediately after Iago has informed Roderigo that he hates Othello, and follows the Moor only to ‘serve my turn upon him’ (I.1.41). We see here how successfully Iago manipulates the way characters perceive each other. He displays this skill throughout the play. Although this is the very first scene and only eighty lines in, the ensign has already succeeded in prejudicing Roderigo’s view of Othello’s marriage. This is so he can obtain Roderigo’s assistance. He wants Roderigo to ‘Call up her [Desdemona’s] father’ , ‘poison his delight’ (I.1.66–7) and ‘Plague him with flies’ (I.1.70). Iago’s use of metaphors associates him with poison, corruption and disease throughout the play. Shakespeare has begun to prepare us for the poisoning of Othello’s mind, which occurs in Act III.

The location of Act I Scene 1 is significant. It is night-time, and the two levels of the stage used (Brabantio at the window, Iago and Roderigo concealed in the darkness of the street below) signifies disruption and confusion. Brabantio’s physical security (his house) is threatened, as well as his peace of mind. Iago refers to Desdemona’s elopement using a verb that signifies an assault on Brabantio’s property; the old man has been ‘robbed’ (line 84). Roderigo’s descriptions of Desdemona’s movements add to the atmosphere of disorder, and establish the danger of Venice at night. ‘At this odd-even and dull watch o’ the night’ Brabantio’s daughter has been transported to the ‘gross clasps of a lascivious Moor’. We know that the social order has been threatened by the elopement because Desdemona has been taken away from her home in darkness, and by ‘a knave of common hire, a gondolier’ (lines 121–4).

When he first appears Brabantio assumes the role of angry patriarch . We know he is powerful because he speaks of ‘my spirit and my place’ (line 102). When he says to Roderigo ‘My daughter is not for thee’ (line 97), we know that Brabantio looks upon Desdemona as a possession. This idea follows on neatly from the earlier use of ‘robbed’. Brabantio dismisses Roderigo in a commanding tone at line 95 and is offended by Iago’s mode of address, asking ‘What profane wretch art thou?’ before insulting him as a ‘villain’ (lines 113–16). Brabantio’s social position is undermined in this scene, not just by the ‘wheeling stranger’ who has eloped with his daughter (line 134), but also by Iago’s impudent words and Roderigo’s description of Desdemona’s ‘gross revolt’ (line 132). Another reason we know that Brabantio’s authority is subverted is because his utterances contain questions as well as threats, and his words increasingly show he is alarmed. Instead of directing his social inferiors, Brabantio finds himself acting in response to them.

Roderigo follows Iago’s instructions throughout Act I Scene 1. He speaks politely to Brabantio, reinforcing our sense of the father’s important social position. The terms in which Roderigo describes Desdemona’s elopement, and in particular Othello, echo the negative descriptions of the Moor earlier in the scene. The metaphors and similes) or all the words which refer to objects and qualities which appeal to the senses and feelings. Thematic imagery is imagery which recurs throughout a work of art. For example, in Othello Shakespeare’s images of the devil and infection underpin the theme of evil.">images Roderigo employs focus on the unnatural quality of the match and Desdemona’s disobedience. This marriage is a subversion of the natural order. Roderigo is a representative of Venetian society, one of the ‘curled darlings’ (I.2.68) Desdemona has rejected. His xenophobic view of her marriage is one that Brabantio can understand. As we see later in the first act, Brabantio views his daughter’s marriage as an incomprehensible rejection of everything she has known. Brabantio’s death from grief later in the play will be directly attributed to the sorrow he feels about Desdemona’s ‘gross revolt.’

Iago speaks a different language from the other two male characters. He is crude and mocking. Iago’s descriptions of Othello, which we would now view as racist, are a key part of the negative black stereotype that is being created. Iago’s references to ‘an old black ram’ , ‘a Barbary horse’ and ‘the beast with two backs ’ (lines 87, 110, 115) reinforce the idea that Desdemona has made an unnatural match and cast Othello in a repugnant role as lustful predator. Iago’s metaphors and similes) or all the words which refer to objects and qualities which appeal to the senses and feelings. Thematic imagery is imagery which recurs throughout a work of art. For example, in Othello Shakespeare’s images of the devil and infection underpin the theme of evil.">imagery suggests race and sex are going to be important issues in Othello . The reduction of the Desdemona–Othello match to bestial sexuality is typical of Iago, who is associated with unpleasant animal metaphors and similes) or all the words which refer to objects and qualities which appeal to the senses and feelings. Thematic imagery is imagery which recurs throughout a work of art. For example, in Othello Shakespeare’s images of the devil and infection underpin the theme of evil.">imagery throughout the play. However, we might already feel that the imagery here tells us more about Iago’s character than it does about Othello’s because we are aware of Iago’s hatred. Earlier Iago said he wants revenge on the Moor, so we know he is an untrustworthy villain.

We also realise that Iago is persuasive and self-confident. He answers Brabantio back and forces his own interpretation of events on him, a pattern that will be repeated when he poisons Othello’s mind in Acts III and IV. It is Iago’s crude comments which really capture Brabantio’s attention in this scene. Act I Scene 1 also reveals Iago’s ability to improvise, which is a key aspect of his characterisation throughout the play. He sets the pace and controls the drama. It was his idea to wake Brabantio and he gets the result he wanted; an angry father, appalled by what he hears.

This is an exchange of contrasts and discord which sets the scene for the events that follow. The contrasts are reflected in the metaphors and similes) or all the words which refer to objects and qualities which appeal to the senses and feelings. Thematic imagery is imagery which recurs throughout a work of art. For example, in Othello Shakespeare’s images of the devil and infection underpin the theme of evil.">imagery and setting, which establish a number of themes and ideas that are going to be important in Othello : social disruption, class and power, delusion and knowledge, male and female sexuality and black and white. The rather chaotic feel signifies that disruption has already occurred and we know that the marriage of Othello and Desdemona is going to be the focal point for future disruption because Iago, Roderigo and Brabantio react to it so strongly and describe it in such negative terms. We are also aware of the difference between Desdemona and her husband: she is the ‘white ewe’ (line 88) while Othello is the ‘black ram’. Desdemona has been stolen, but we also know she has given herself away because she has chosen to elope secretly. Venice – a civilised place associated with power, prosperity and order – has been assaulted by a ‘wheeling stranger’ (line 134). We wonder how the tension that has been set up in this scene will be resolved, particularly the evident dislike and disdain the three characters feel for Othello.

Shakespeare’s Othello: Essay Samples - Links & Essential Info

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✍ Othello: Essay Samples

• Theme of Jealousy in Othello by Shakespeare Genre: Research paper Words: 1643 Focused on: The issues of jealousy, manipulation, and jealousy Characters mentioned: Iago, Othello, Roderigo, Desdemona, Brabantio, Cassio
• The Tragedy of Othello Genre: Research paper Words: 1651 Focused on: Othello’s tragedy and whether it was self-inflicted Characters mentioned: Othello, Iago, Cassio, Desdemona, Roderigo, Brabantio, Emilia, Bianca
• Othello by William Shakespeare Genre: Essay Words: 888 Focused on: Catastrophe, race, and misrepresentation Characters mentioned: Othello, Iago, Cassio, Desdemona
• Irony in “Othello” by Shakespeare Genre: Analytical Essay Words: 907 Focused on: How irony drives the plot of Othello Characters mentioned: Othello, Iago, Desdemona, Emilia
• Summary about Shakespeare’s Othello Genre: Essay Words: 837 Focused on: Retelling of Othello Characters mentioned: Othello, Iago, Cassio, Roderigo, Desdemona, Emilia, Brabantio
• Othello by William Shakespeare Genre: Term paper Words: 1141 Focused on: Comparison of the play with Tim Nelson’s 2001 movie O Characters mentioned: Othello, Iago, Desdemona, Cassio
• Shakespeare’s Othello, the Moor of Venice Genre: Research paper Words: 1404 Focused on: Character traits of Iago and Othello, and how they drive the story Characters mentioned: Iago, Othello, Desdemona, Cassio, Roderigo, Emilia
• The Downfall of Othello Genre: Essay Words: 1687 Focused on: Comparison of Othello’s and Oedipus’s downfalls Characters mentioned: Othello, Iago, Brabantio, Cassio, Desdemona
• “Othello” by William Shakespeare Genre: Essay Words: 548 Focused on: The role of minor characters in Othello Characters mentioned: Othello, Iago, Cassio, Emilia
• Character of Iago in “Othello” by Shakespeare Analysis Genre: Essay Words: 1080 Focused on: Character analysis of Iago and his evil nature Characters mentioned: Iago, Othello, Cassio, Desdemona, Emilia, Roderigo,
• Critical Analysis of the Tragedy of Othello Genre: Essay, Critical Writing Words: 971 Focused on: Stage directions , the play’s modernity, and geographical symbolism Characters mentioned: Othello, Iago, Desdemona
• Jealousy in “Othello” by W.Shakespeare Genre: Analytical Essay Words: 1611 Focused on: Good vs. evil as characterized by jealousy Characters mentioned: Othello, Iago, Cassio, Desdemona, Emilia, Roderigo
• Othello as the Outsider Genre: Essay Words: 1356 Focused on: Othello as an outcast in society and how his language and behavior reflect it Characters mentioned: Othello, Iago, Desdemona
• Racism in Play “Othello” by William Shakespeare Genre: Essay Words: 867 Focused on: The theme of racism and how it’s shown in the play Characters mentioned: Othello, Iago, Cassio, Brabantio, Desdemona
• Othello and Desdemona: Emotional Strangers Genre: Essay Words: 1243 Focused on: The relationship between Othello and Desdemona Characters mentioned: Othello, Desdemona, Iago, Cassio
• What Can Lawyers Learn From ‘Othello’? Genre: Essay Words: 692 Focused on: Why lawyers should read Othello Characters mentioned: Othello, Cassio, Iago
• Shakespeare’s Tragedy of Othello: The Words and Actions of Iago Genre: Essay Words: 1421 Focused on: Why Iago is an excellent villain, comparison of Iago and Joker from The Dark Knight Characters mentioned: Iago, Othello, Cassio
• Othello and Snow Country: Personal Opinion Genre: Critical Essay Words: 994 Focused on: Love and passion in Shakespeare’s Othello and Yasunari Kawabata’s Snow Country Characters mentioned: Othello, Desdemona
• Othello’s Fall from Grace and Redemption at the End of the Play Genre: Essay Words: 1145 Focused on: Themes of jealousy and gullibility Characters mentioned: Othello, Desdemona, Iago
• Othello’s tragedy Genre: Essay Words: 830 Focused on: The cause of Othello’s tragedy Characters mentioned: Othello, Desdemona, Iago
• The issue of racial prejudice Genre: Research paper Words: 2198 Focused on: Racial prejudices, discrimination towards Othello and foreigners in general, cultural and historical context Characters mentioned: Othello, Iago, Brabantio, Desdemona
• Humiliation of Iago (Othello) Genre: Essay Words: 589 Focused on: Possible motives of Iago Characters mentioned: Iago, Othello, Desdemona
• Compare and Contrast Shakespeare’s Othello and the Blind Owl by Sedayat Genre: Compare and Contrast Essay Words: 1370 Focused on: Differences and similarities of the plots and themes of Shakespeare’s Othello and the Blind Owl by Sedayat Characters mentioned: Othello, Iago, Desdemona
• Remembrance and Redemption Relationship Genre: Essay Words: 1471 Focused on: Theme of redemption in Othello , Mansfield Park, and A Small Place Characters mentioned: Othello, Iago, Cassio
• Treatment of women by Shakespeare and Sophocles Genre: Essay Words: 1895 Focused on: Different treatments of women in Othello and Oedipus Characters mentioned: Othello, Iago, Desdemona, Emilia, Cassio, Roderigo, Brabantio
• The Feminist critique Genre: Essay Words: 2062 Focused on: The role of women in Elizabethan society as told by Othello Characters mentioned: Desdemona, Emilia, Bianca, Othello, Iago, Cassio, Duke of Venice, Brabantio
• Comparison and Contrast of the Driving Force of Plot in Medea by Euripides, Othello by William Shakespeare, and the Epic of Gilgamesh Genre: Essay Words: 568 Focused on: Heroism in Medea by Euripides, Othello by William Shakespeare, and The Epic of Gilgamesh Characters mentioned: Othello, Iago, Brabantio, Roderigo
• Violence of Shakespeare Genre: Term paper Words: 1701 Focused on: Violent behavior in Titus Andronicus , Hamlet , and Othello Characters mentioned: Othello, Iago, Desdemona
• Philosophy of Literature: Shakespearean Tragedy Genre: Essay Words: 1218 Focused on: How tragic incidences make heroes be villains as shown in Othello and Macbeth Characters mentioned: Othello, Desdemona, Iago
• Machiavelli and Othello’s Leadership Skills Essay Genre: Essay Words: 584 Focused on: Leadership skills in Machiavelli’s The Prince and Shakespeare’s Othello Characters mentioned: Othello, Iago
• The Life And Work Of William Shakespeare: His Contribution To The Contemporary Theater Genre: Research paper Words: 1371 Focused on: The contribution of William Shakespeare’s works to contemporary theater Characters mentioned: Othello, Desdemona, Iago
• Othello and Oedipus Rex Characters’ Traits Genre: Essay Words: 963 Focused on: Character and tragic traits of Othello and Oedipus Characters mentioned: Othello, Iago, Desdemona
• Iago and Othello Relationships Genre: Research paper Words: 1254 Focused on: Iago’s and Othello’s relationships and how it contributes the plot Characters mentioned: Othello, Iago, Desdemona, Emilia
• Cultural Diversity in the Play “Othello” Genre: Essay Words: 822 Focused on: The play’s reflection of society and racial prejudices Characters mentioned: Othello, Desdemona, Iago

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Study Guide Menu

• Play’s Plot Explored
• Act 1 Scene 1
• Act 1 Scene 2
• Act 1 Scene 3
• Act 2 Scenes 1-2
• Act 2 Scene 3
• Act‌ ‌3‌ ‌Scenes‌ ‌1-2
• Act‌ ‌3‌ ‌Scene‌ ‌3
• Act 3 Scene 4
• Act‌ ‌4‌ ‌Scene‌ ‌1
• Act 4 Scene 2
• Act‌ ‌4‌ ‌Scene‌ ‌3
• Act‌ ‌5‌ ‌Scene‌ ‌1
• Act 5 Scene 2
• Characters Analysis
• Important Quotes
• Essay Samples
• Topics‌ for‌ ‌Essay‌
• William Shakespeare
• Chicago (A-D)
• Chicago (N-B)

IvyPanda. (2024, May 21). Shakespeare’s Othello: Essay Samples - Links & Essential Info. https://ivypanda.com/lit/othello-study-guide/essay-samples/

"Shakespeare’s Othello: Essay Samples - Links & Essential Info." IvyPanda , 21 May 2024, ivypanda.com/lit/othello-study-guide/essay-samples/.

IvyPanda . (2024) 'Shakespeare’s Othello: Essay Samples - Links & Essential Info'. 21 May.

IvyPanda . 2024. "Shakespeare’s Othello: Essay Samples - Links & Essential Info." May 21, 2024. https://ivypanda.com/lit/othello-study-guide/essay-samples/.

1. IvyPanda . "Shakespeare’s Othello: Essay Samples - Links & Essential Info." May 21, 2024. https://ivypanda.com/lit/othello-study-guide/essay-samples/.

Bibliography

IvyPanda . "Shakespeare’s Othello: Essay Samples - Links & Essential Info." May 21, 2024. https://ivypanda.com/lit/othello-study-guide/essay-samples/.

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Notes || Exam Prep || Character Profiles || Themes || Additional Reading & Videos

This text is included in  Paper 1 . You can find notes and guides for it below.

• Literary Form

Additional Reading & Videos:

• Essay: Homosocial Desire and its Conversion to Homosexual Desire
• Essay: The Symbolic Significance of Desdemona’s Handkerchief
• Essay: Men, Women and War: An Examination of Gender Conflicts within Othello
• Thesis: Courtship, Love, and Marriage in Othello: Shakespeare’s Mockery of Courtly Love
• Essay: Too Gentle: Jealousy and Class in Othello
• Video: Racism in Othello
• Video: The Question of Race in Othello
• Film: Othello (modern-day adaptation, dir. Geoffrey Sax 2001)
• Film: Othello (filmed theatrical production, 1965)

Character Profiles

• Proximity and Distance
• Truth and Deception

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