OTHELLO Short Questions

OTHELLO

SHORT QUESTIONS

QUESTION NO. 17

Answer the following questions.

(i) Why does Iago not like Othello?

Ans. Iago's anger stems from the fact that Othello unfairly passed him over for promotion and made
Michael Cassio his lieutenant, even though Cassio, unlike Iago, has no military field experience. He
also suspects that Othello has slept with his wife, Emilia. However, the main cause of his hatred is his
deep-seated racism against Othello.

(ii) Who is Roderigo?

Ans. Roderigo is the secondary antagonist of the play "Othello". He is a dissolute Venetian lusting after
Othello's wife Desdemona. He has opened his purse to Iago in the mistaken belief that Iago is using
his money to pave the way to Desdemona's bed. In the end, Roderigo dies - stabbed in the back by
Iago.

(iii) Who is Desdemona?

Ans. Desdemona is a beautiful, young and white Venetian debutante. She is the daughter of a senator,
Brabantio. She elopes with Othello. She is capable of defending her marriage, jesting bawdily with
Iago, and responding with dignity to Othello's incomprehensible jealousy. She dies declaring her love
for Othello.

(iv) Who is Michael Cassio?

Ans. Michael Cassio is Othello's lieutenant. He is a young and inexperienced soldier, whose position is
much resented by Iago. Truly devoted to Othello, Cassio is extremely ashamed after being implicated
in a drunken brawl on Cyprus and losing his place as lieutenant. Iago uses Cassio's youth, good looks,
and friendship with Desdemona to play on Othello's insecurities about Desdemona's fidelity.

(v) Who is Brabantio?

Ans. Brabantio is a Venetian senator and the father of Desdemona in "Othello". He has entertained
Othello in his home countless times before the play opens, thus giving Othello and Desdemona
opportunity to fall in love. He is furious upon learning they have eloped, and Desdemona's decision is
reported to be the cause of his death in the last act.

(vi) What was Brabantio's reaction to Othello's marriage to Desdemona?

Ans. When Brabantio, Desdemona's father, realizes that his daughter has married Othello, he reaction
is rage. Going to where Othello is meeting with the Venetian Senators, Brabantio accuses Othello of
using sorcery to seduce his daughter. He us upset because Othello is not Venetian but Moorish. 
(vii) What is the military issue that the Duke of Venice and his senators discuss?

Ans. The Duke of Venice and his senators talk about the Turk army headed for the kingdom. They
discuss which part of the kingdom do they plan to attack. Finally they reached the conclusion that
Cyprus would be their target. That is why they send Othello to Cyprus. 

(viii) Define the word 'moor'.

Ans. "Moot" is a name applied to the Arab and Berber peoples of North Africa who inhabited medieval
Spain. Thus, Othello may be connected with the Moors who remained in Spain after the fall of Granada
in 1492 until a later expulsion in 1609 or with the people of "Barbary" in North Africa. 

(ix) How does Othello succeed in winning Desdemona's heart?

Ans. Desdemona's father, Brabantio, frequently invited Othello to be a guest at his home. Othello told
tales of his strange adventures prior to coming to Venice. Desdemona used to come around to hear
the stories. Eventually, Othello began sharing his tales with Desdemona privately. And, they fell in love. 

(x) What is the significance of the handkerchief to Othello?

Ans. The handkerchief is the first gift Desdemona receives from Othello, so it is a token of his love.
Othello claims that his mother used it to keep his father faithful to her, so, to him, the handkerchief
represents martial fidelity. The pattern of strawberries on a white background strongly suggests the
bloodstains left on the sheets on a virgin's weeding night, so the handkerchief suggests a guarantee of
virginity as well as fidelity. 

(xi) What proof does Iago use to convince Rederigo that Cassio and Desdemona are lovers?

Ans. He offers proof in the way of Othello's handkerchief that end up in Cassio's hands and an
overhead conversation. He also emphasizes the contrast of black Othello and white Desdemona to
defile Desdemona's goodness. 

(xii) Who is Emilia?

Ans. Emilia is Iago's wife, and Desdemona's maid, a woman of practical intelligence and emotional
resilience. She follows Iago in wifely duty, but during the play develops a strong loyalty to Desdemona
and, at the end, denounces Iago's lies to defend Desdemona's reputation. 

(xiii) What warning about Desdemona does Branbanito give to Othello?

Ans. Brabantio warns Othello that if his daughter, Desdemona, deceive him in order to marry Othello,
then she can just as easily deceive Othello. 

(xiv) Why does Desdemona plead the case of Cassio so passionately?

Ans. Desdemona and Cassio are firm friends. What has happened to Cassio is precisely what she
could not bear to happen to herself. Therefore, Desdemona pleads the case of Cassio so passionately,
asserting that he is a good man, and worthy to be reinstated in her husband's favour. 

(xv) What happens to the Turkish fleet?

Ans. The Turkish fleet is broken apart by a terrible storm while sailing to Cyprus. This might mean that
the Turkish attack will not happen. 
LONG QUESTIONS

Theme of Jealousy in "Othello"

1. Introduction

     Jealousy is a mental cancer. It is an emotion, and the word typically refers to the thoughts and
feelings of insecurity, fear, concern and anxiety over an anticipated loss or status of great personal
value, particularly in reference to a human connection. Five characters in "Othello" by Shakespeare are
victims of jealousy. Iago and Bianca are jealous about Cassio, Brabantio, Roderigo and Iago are
jealous about Othello, and Othello becomes jealous of Desdemona. Emilia is not jealous about anyone
but has a theory that jealousy is a constituent part of masculinity. Except Brabantio's jealousy of
Othello and Iago's jealousy of Cassio, all characters are suffering from sexual jealousy - a jealousy
which is triggered in a person when a sexual partner displays sexual interest in another person. 

2. Iago's Jealousy of Cassio

     Iago is a soldier who fights alongside Othello in his army. Proving loyal with every fight, Iago
assumes that the upcoming promotion for lieutenant is imminent. Unfortunately, the promotion is
given to Micheal Cassio instead. Iago cannot understand this appointment because Cassio is an
inexperienced soldier who has no practical knowledge of battle. He is a man of theoretical learning.
On the other hand, Iago is given the job of Ensign, or flag-bearer that is humiliating for a man who
considers himself intellectually superior to everyone around him. Iago thus becomes jealous of Cassio
who is now of higher rank and is young and handsome to boot. 

3. Iago's Jealousy of Othello

     Othello is a general in the Venetian defense forces. He is newly and happily married to an
aristocratic Venetian woman, Desdemona. Iago is jealous of Othello's position and his ability to woo
the young and alluring Desdemona. It is possible that Iago has his own secret passion for the Moor's
new bride, and he is enraged at the idea of the "old black ram" attaining what he himself desires.
Moreover, Iago is stuck in a loveless marriage to a woman who frequently nags him. Thus he is
jealous of Othello and Desdemona's happiness in love. The jealously gets intensified when he hears a
rumor that Othello has been sleeping with his wife, Emilia.
4. Brabantio's Jealousy of Othello
     Brabantio is Desdemona's father. He is jealous of the Moor for stealing his daughter's love. He
accuses his new son-in-law of being a "foul-thief". He becomes jealous because he knows that he will
no longer be the most important person in Desdemona's life. After Desdemona makes it clear that she
loves and honours her husband, Brabantio remains vindictive, and bitterly warns Othello that
Desdemona may turn out to be a slut:

Look to her, Moor, if thou hast eyes to see:

She has deceived her father, and may thee

No father has ever expressed a more hateful jealousy of his son-in-law as Brabantio.
5. Roderigo's Jealousy of Othello
      Roderigo is a wooer of Desdemona. The lovesick Roderigo has trouble with his feelings for
Desdemona and is jealous watching Othello and Desdemona in love. He follows Iago's directions
easily because of his jealousy of Othello's relationship with Desdemona. Along with Iago and
Brabantio, he berates and criticizes Othello about everything, including race. He expresses his jealousy
of Othello's marriage to Desdemona by exclaiming,

What a full fortune does the thick-lips owe

If he can carry't thus!

6. Bianca's Jealousy of Cassio

     Bianca is Cassio's prostitute girlfriend. She becomes sick with jealousy when Cassio gives her a
handkerchief in order to copy Desdemona's handkerchief for him. Bianca is already unhappy with
Cassio because he has not been to see her in a week, and the sight of a woman's handkerchief gives
her an attack of jealousy. She throws handkerchief back at Cassio, tells him that he should give it to
the whore he got it from, and declares that no matter where he got it, she is not about to copy it.
Though Bianca's jealousy exists on a much smaller scale, it illustrates that the sentiment is universal.
7. Othello's Jealousy of Desdemona
     Iago plants the seed of jealousy in Othello in Act 3, Scene 3. Iago convinces Othello that
Desdemona has been an unfaithful wife; she has an affair with Cassio. Othello believes Iago's lies,
despite that there is not much evidence. His jealousy leads him to be too trusting of Iago. As he
begins to believe the accusations, his love, affection and kindness for Desdemona fade away. Othello's
jealousy reaches its peak when his token of love for Desdemona, the handkerchief, is shown up in
Cassio's possession. Othello is completely convinced that Desdemona is unfaithful and he kills her
because he has not way to resolve his jealousy.
8. Iago's Remarks About Jealousy
     Iago describes jealousy as a "green-eyed monster". The meat that this monster feeds on is a
person's heart, which it eats away. At the same time, the monster mocks that person's heart, so that he
or she feels shame. And the monster is insatiable, always gnawing away, so that the jealous person is
never at peace.

O, beware, my lord, of jealousy;

It is the green-eyed monster which doth mock

The meat it feeds on;

Iago also describes jealousy as a "poison" that consumes the jealous person, eating away at him and
filling him with a passionate desire for revenge.
9. Emilia's Remarks About Jealousy
     Emilia believes that jealousy does not need a cause. It is a beast that is born of itself and feeds on
itself. The root of jealousy is not some action of infidelity but insecurity on the part of the one jealous.
Throughout the play, Iago accuses Emilia of being unfaithful to him, just as Othello accuses
Desdemona. She has never been untrue to Iago as Desdemona has never been untrue to Othello. Thus
jealousy does not need an unfaithful act to inspire it. It is a part of a man or woman's nature.

But jealous souls will not be answer'd so;

They are not ever jealous for the cause, 

But jealous for they are jealous: 'tis a monster

Begot upon itself, born on itself.

10. Conclusion
     In short, jealousy, rooted in fear and anger, is a bad emotion to feel and bad quality to possess.
Jealous people do very foolish things, particularly in the case of romantic and sexual jealousy.
Abnormal jealousy is a very complex, passionate and fatal emotion that devours those who allow it to
dominate their lives. This "green-eyed monster" kills Roderigo, Desdemona, Emilia and Othello.
Brabantio has also died and Iago will die in the near future after a drawn out punishment. It is ironic
that almost all of the characters in the play feel jealous about things that never actually happened --
baseless jealousy for the most part provokes their outbursts. 
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20. Othello as domestic tragedy

Othello as a Domestic PlayOthello is a domestic play in the sense that its subject is one of family or
domestic issues. The issues are limited to the scope of a family and personal assistants of the hero:
marital relation and happiness, sexual jealousy and personal revenge, intrigue and conspiracy,
friendship and betrayal.

The central theme of Othello's relationship with his wife, his sexual jealousy and the consequence of
his fatal weakness of gullibility doesn't go beyond the limit of his family life.

Othello is a domestic tragedy in the sense that it deals with domestic issues of a couple's married life,
the husband's jealousy and the wife's ignorance which lead to their disaster. Earlier dramas, the
classical dramas of the Greek model, used to deal with social and universally significant human issues
at large, William Shakespeare much narrowed down the subject matter in Othello to a more ordinary
'domestic' issue. Even when compared to his other tragic dramas, this play has a more common issue.
Instead of dramatizing an issue of national or communal importance Othello is essentially concerned
with domesticity. The pictures of a short lasting conjugal bliss and its disruption through unnatural
jealousy become the major thematic aspects in the play. Othello-Desdemona marriage begins
violently, ends violently and between these two violent points, there is brief joy and much sorrow.

The play has been called a domestic play, especially in the light of the fact that most serious tragedies
before Shakespeare and even Shakespeare's other tragedies used to deal with more public issues.
Plays like Oedipus Rex and even Shakespeare's own Hamlet and Macbeth, were about kings and
princes, and generals like Othello; but the action and issue in them was not limited to the individual
persons or their personal and family lives. They used to be about kings and their kingdoms: the
actions and decisions of the characters affected the country and the people. But, in the case
of Othello, the main issue is limited to Othello's private life, his relation with his wife, his happiness and
failures. The play is limited to the marital life and happiness of a husband and wife; and though the
intruder and related people come into the action, their roles also do not lead out the effect of the
interactions to people outside. lago and Emilia's lives are also affected by the main line of action
related Desdemona and Othello, but that is also a family issue. Cassio's relationship with Othello is
more domestic than professional; he was friendly and acted like a family member with Desdemona
before her marriage, and he is like a brother to her and Othello. Roderigo is the only character who is
not so much in the family structures of relations.

The public and state matters like those that take place at the Duke's court and in Venice are marginal
to the theme of the drama. Thus, since family or domestic issues are primary, the play has been called
a domestic play.

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21. Racial Prejudices in 'Othello'

The Issue of Race

People discriminate for many different reasons: fear, envy, the desire for power, or a need to
disassociate themselves from others. They can, thus, use someone's skin color (an innate trait that
cannot be altered) to express their hatred.

Othello, in Shakespeare’s play Othello, is a happily married and widely respected general in the
Venetian army despite his African heritage. In the beginning of the story, Othello has not, as yet,
experienced discrimination. However, Iago succeeds in bringing about the ruin of Othello and his wife
Desdemona by revealing to Othello the existence of racist ideas and convincing him that he must act
out against the individuals supposedly harboring racist-fueled resentment.

Through Iago’s manipulation of Othello and others, his claim comes to pass. In the end, people use the
color of Othello's skin to condemn his erratic behavior. And by his believing that racism exists, Othello
also creates it.

Othello's Background

Othello is an African prince, born into privilege and royalty. He claims, “I fetch my life and being/From
men of royal siege.” (III.iii. 21-22). He left his native homeland and his life of guaranteed luxury to live
among white Europeans and be free of the innate obligations of royalty. In his new home, his only
obligations are to people he himself has chosen to serve: the Venetian government and his wife
Desdemona. Even in this position as general, Othello still experiences freedom since he can retire at
his leisure, and he tells Iago:

But that I love the gentle Desdemona,

I would not my unhoused free condition

Put into circumscription and confine

For the sea’s worth (I.ii.27-28).

This statement suggests that if he had not met Desdemona, Othello would have continued to live life
in a “free condition” without matrimonial commitments that “put into circumscription and confine” his
freedom.

Othello delights in and experiences the ultimate freedom to do as he pleases. He is free to make the
choices that ultimately affect his life, and enjoys his self-made position. The color of his skin has not
prevented him from achieving a high rank in society and exercising the power and freedom such a
position entails.

A Plot Rooted in Jealousy

These achievements have earned Othello the respect and admiration of those around him with the
exception of a resentful few, including Iago and Roderigo. Iago hates Othello because he appointed
the inexperienced Cassio as his lieutenant instead of Iago, who instead became his “ancient.” Iago
enacts his revenge upon Othello by manipulating Roderigo, who desires Othello’s wife Desdemona.
Roderigo expresses his jealousy by calling Othello racial slurs: “What a full fortune does the thick-lips
owe/If he can carry ‘t thus!” (I.i.65-66). Both men plot to bring an end to Othello’s marriage by telling
Desdemona’s father, Brabantio, that Othello kidnapped her.

They succeed in angering her father when they bring up the subject of race. Iago says to Brabantio,
“An old black ram/Is tupping your white ewe” (I.i.87-88). With this saying, Iago and Roderigo hint that
Othello and Desdemona’s future children will be half-breeds who will become the ridicule of society
and bring shame upon Brabantio. They continue by saying, “You’ll have your daughter covered with a
Barbary/Horse; you’ll have your nephews neigh to you; you’ll have coursers for cousins and gennets
for germans” (I.i.110-12).

Is Racism Fabricated?
Afraid that such events would jeopardize his position as senator, Brabantio accuses Othello of
kidnapping and bewitching his daughter in a desperate attempt to retain his own power and honor in
the eyes of society. In his defense, Othello points out that in the past Brabantio “lov’d me; oft invited
me” (I.iii.128), showing that Brabantio was not racist and did not discriminate against Othello until
Iago's interference made him feel it was in his best political interests to do so.

Desdemona acquits Othello of any wrongdoing, and the Duke says to Brabantio: “If virtue no delighted
beauty lack/Your son-in-law is far more fair than black” (I.iii.288-89). The Duke tells Brabantio that he
should not put importance on Othello’s skin color, but on his virtuous deeds and nature instead.

Othello Starts to Believe That Racism Exists

Othello, himself, is unaware of any existing racism or of the power of such thoughtless hatred. He
declares, “My parts, my title and my perfect soul/Shall manifest me rightly” (I.ii.31-32). He does not
believe that discrimination can determine his guilt. At first, this notion of universal equality works
against Iago’s claims that Desdemona is cheating on Othello because of his skin color. Othello
confidently declares, “Nor from mine own weak merits will I draw/The smallest fear or doubt of her
revolt/For she had eyes, and chose me” (III.iii.187-89).

However, he goes on to say, “And yet, how nature erring from itself—” (III.iii.228). This indicates that,
perhaps deep down, Othello believes that it is in Desdemona’s inherent nature to favor men of her own
race. Iago draws upon Othello's doubt and says, “Her will, recoiling to her better judgment/May fall to
match you with her country forms/and happily repent” (III.iii.226-28). By saying this, Iago implies that
Desdemona compares Othello with other white Venetian men and regrets her marriage. Persuaded by
Iago's words, Othello starts to believe that Desdemona is cheating on him because he is black.

Left alone with these thoughts, Othello states “I’ld whistle her off and let her down the wind/To prey at
fortune (III.iii.263-64). His words suggest that if Desdemona was proven false, he would cast her out
of his household. However, after he brings up the issue of his own race and recognizes how he is
different from the rest of society, Othello lashes out in anger at Desdemona, the scapegoat for his
overpowering sense of self-loathing:

Haply, for I am black

And have not those soft parts of conversation

That chamberers have, or for I am declin’d

Into the vale of years (yet that’s not much)

She’s gone. I am abus’d: and my relief

Must be to loathe her (III.iii.264-69)

Othello does not just criticize Desdemona for her infidelity nor condemns her for her sins, but he, in a
way, justifies her actions by assuming that his own race-related weaknesses motivated her to have an
affair with another man. This quote shows a change in Othello. He begins to hate Desdemona
because he now believes that she cheated on him because of his race. He will not be content with just
throwing her out, but is now consumed with loathing because he believes her cheating and
discrimination has caused him to feel pain and inferiority.

Othello's Character Comes Into Question

As Iago continues to supply Othello with 'proof' of Desdemona’s supposed infidelity, Othello is further
consumed with rage and jealousy. When Lodovico comes to deliver a letter to Othello, Desdemona
makes a comment which Othello assumes is about her other lover, and he slaps her. Lodovico is
shocked at this rash behavior, which is so out of character, and tells Othello: “My lord, this would not
be believ’d in Venice/Though I should swear I saw ‘t; ‘til very much” (IV.i.225-26). He goes on to
question Othello’s reputation after such an act, saying:

Is this the noble Moor whom our full senate

Call all in all sufficient? Is this the nature

Whom passion could not shake? Whose solid virtue

The shot of accident, nor dart of chance,

Could neither graze nor pierce? (IV.i.245-49)

Othello becomes even more rash when he calls Desdemona a whore, and Emilia, Iago’s wife, exclaims:
“Here’s a change indeed!” (IV.ii.107). However, it is not until Othello commits the ultimate crime that
his skin color is held against him. They condemn his race because they struggle to find a meaning for
this sudden and seemingly unprovoked action.

Murder

When Othello murders his wife, it forces those who formerly respected and admired him, and those
who held him to be equal on all levels, to use his skin color to explain his great misdeeds. For example,
Emilia calls him a “blacker devil!” (IV.ii.132). On the topic of Desdemona’s supposed infidelity, Emilia
states that Desdemona was true and “was too fond of her most filthy bargain” (IV.iii.157),
contemptuously referring to Othello in racist terms. His race is now recognized and being utilized by
those who Othello alienated through his irrational actions. If he had not been prompted through
jealousy and his own sense of self-loathing, Othello would continue to have been regarded in high
esteem by the rest of society.

Conclusion

Othello had previously lived a life free of racial discrimination, except for those few who envied and
resented him, or feared he would sabotage their powers. These few used his race as a means of
bringing about his destruction. For the rest of society, he was considered a noble and virtuous general,
and his color was of little consequence. However, when Othello committed atrocious crimes because
of his unfounded jealousy, those who had previously believed him to be admirable and good
condemned him, not by criticing his character, but by criticizing his distinguishing racial characteristic:
his color.

22. Othello As a Tragic Hero

In life, heroes will arise when ever they are called for. It may be the everyday heroes that are seen
rescuing a cat from a tree or helping an old lady cross the street. It may also be the heroes that are
see in movies and books rescuing the princess from the dragon or leading their country in battle.
Perhaps the rarest hero is the tragic one. William Shakespeare has artfully crafted some of the most
prominent tragic heroes of all time. With one of the greatest being Othello. Othello is a tragic hero
because of his noble traits, his tragic flaws, and his tragic downfall.
For someone to be a tragic hero, they must first be a noble character. Othello can be considered a
noble character because he is one of high social ranking and he has a genuine heart. Othello, despite
coming from a rough past, is an honorable war hero and the general of the Venetian army. Along with
his social stature, Othello also has a noble heart. Although he is sometimes portrayed as violent,
Othello’s loving nature can be seen in instances such as when he speaks about Desdemona. These
traits are greatly admired among characters of Othello including Iago who admits that Othello is “of a
constant loving, noble nature [and] will prove to Desdemona A most dear husband” (2.1.290-292).
Othello’s nobility is quite evident, however, he does have traits that can be viewed as tragic flaws.

Othello is a tragic hero because of his tragic flaw. There are many undesirable traits in Othello, like his
jealousy and gullibility. However, the core of these problems and his main tragic flaw is his
insecurities. Othello being the only black character and an outsider in Venice brings upon many
insecurities. His vulnerability makes him an easy target for Iago to manipulate his mind; he begins to
believe that he isn’t good enough for Desdemona: “She’s gone, I am abused, and my relief Must be to
loathe her. Oh, curse of marriage That we can call these delicate creatures ours And not their
appetites!” (3.3.283-286). Iago was easily able to convince Othello that Desdemona has been
unfaithful. However, Othello doesn’t realize his insecurities have taken over his life until it is too late
and his tragic downfall has already hit rock bottom.

What makes Othello a tragic hero is he experiences a tragic downfall. Othello’s downfall is set into
motion when the jealous Iago begins planting seeds of doubt into Othello’s already insecure mind.
Iago’s manipulative words convince Othello that his wife is unfaithful; from then on he begins to lose
his noble traits. He treats his wife with little to no respect and eventually smothers her to death. When
Iago’s plot is finally unveiled and Othello realizes his terrible mistake, it is evident he has reached his
emotional limit: “Whip me, ye devils, From the possession of this heavenly sight! Blow me about in
winds, roast me in sulfur, Wash me in steep-down gulfs of liquid fire!—Oh, Desdemona! Desdemona!
dead! Oh! Oh!” (5.2.286-290). In his distraught state of mind and with his broken heart, Othello decides
to kill himself. With one fatal stab, this hero’s tale comes to a tragic end.

Othello is a tragic hero because he is noble, he suffers from a fatal tragic flaw and he goes through a
tragic downfall. All these traits that Othello exhibits lead him to be known as one of the most well-
known tragic heroes in all of literature.

23. Character Sketch of Iago

I am  not  what I  am- Iago character analysis Iago,  the triumphant villain within  Othello  is a 
complicated character- his true intentions are  shrouded  in the layers of  deception and deviance that
help  create his false visage. The heinous crimes he sets out to  achieve  are unfathomable, yet
without  this peculiar character the play itself  would be little  more  than  a  light romantic drama.
Iago  is the villain  we love  to  hate;  he makes the play and at the same time  breaks all the 
characters within  it,  he is the sole instigator of  the tragic  eventfulness within  Othello.  And yet still 
Iago is one  of  the most complex  characters within Shakespearean tragedy.   To  for  fill the  plot 
outline, it  was essential that Iago  was depicted  as the epitome of  evil,  and  this is accomplished
within  his particular characteristic traits. His  heightened devious nature comes across only  within 
his many soliloquies, and  Shakespeare used these  to evoke frustration  within the audience;  the true 
dramatic  irony of  his character  only  seeps out during  these extended asides. The  intention was  to
stir  up pity towards  the other  characters, who  are tragically  fooled by  Iago’s split  personality.
“Honest Iago…O  good Iago”  Desdemona, in  seeking  his advice. We see the deceptive  web that Iago 
has wound  around everyone  but himself,  and  the irony  is  the characters truly  believe  he is an
honest being. Shakespeare  repeats the  word  ‘honest’ over  50  times during the play,  obsessively
throwing  the word  around  so to  exaggerate the contradictory meaning within  Othello’s context. The 
self  obsessed cloud  that remains around  Iago’s head throughout the play,  is only  revealed to  the
audience. Towards the other characters,  he maintains his master  disguise of  loyalty  and
truthfulness, when in  actual fact he  is  conspiring  against them  all.
The  innate evil within  Iago is only truly revealed  at the  end of  the play,  when he has done  the
damage.  The concept  of  evil is so overplayed that it  seems Iago’s  actions are motiveless; he does
not have a  specific  reason for desiring to  bring down his fellow characters.  As  an audience, we 
cannot  truly  believe the justifications he gives along  the play,  due to his  overwhelming deceptive 
tendencies.  And when  questioned, he  replies with a tone that exposes  nothing. Othello- “Why he
hath thus ensnar’d  my soul  and  body?”    Iago- “Demand me nothing;  what you  know,  you know.  
From  this time forth  I never will  speak word” The  cunning  nature of  Iago  is  so dramatised, that we
almost cringe as  each thing  Iago  sets out to  do; he accomplishes with  great success. However  the
question  arises, really  how  clever is Iago?  As he said himself,  he does not  have a master plan- his
innovation and eagerness to  exploit  are the true  reasons for  his  success as  a villain. Iago  seizes
every opportunity  to take advantage of  the vulnerabilities  of his victims, and in doing  so he
personally succeeds.  This is reinforced by  the proud  ego covering his  true insecurities;
Shakespeare  makes this apparent  as  he displays Iago’s uncertainty  regarding himself. This in turn 
brings light  to  the issue of  Iago’s insecurities, the somewhat subconscious moral  to  why he goes
about  causing destruction.  In Iago’s  world, the hate comes first  and  then the fabricated  motif 
follows.  It is an example  of his  constant need  to rationalize himself.  The beliefs of  adultery
involving  Othello  and Cassio are  fantasies that feed  his  hate. To  work  his  hatred  into rage, he
invents hurts to justify  his heinous  actions. What he does not  realise is that his urge to  hate Othello
is a product of  the deep psychological  problems that exist within  himself;  these emain 
unmentioned  in the  play however  the audience  comes  to make assumptions that Iago  is not 
entirely  sane In  order  to  feel superiority,  Iago  also  expresses his  hatred  towards women- treating 
them as  sexual  objects to  satisfy men’s desires and nothing  more. Iago- “You  rise to  play/And  go 
to bed  to work.” To  add  towards his apparent loathing towards women, at the end  of the play  Iago
murders  his  own spouse;  Emilia. This  reinforces the idea that Emilia  is  seen more as  a servant
than a companion  in Iago’s  eyes. This  behaviour is heavily  contrasted with  Othello’s passionate love
towards Desdemona;  however although both relationships are juxtaposed  against each  other- both 
men commit the same crime; the  act of  murdering their own  wives. This denotes towards  Iago’s
tremendous  influence  over Othello’s behaviours. The  certain  techniques Shakespeare  has used 
while  constructing Iago’s  speech allow  the responder to  build a dense  image  of the villain.  Lacing 
Iago’s words  with dank imagery, bestial images  and sexual  innuendo  indicates his dark  conception
of  the world  in general;  this language reflects  the depravity of his mind. Iago- “Even now,  now,  very
now,  an old  black ram    Is tupping your white ewe. Arise,  arise;” …   “I  am one,  sir, that comes to  tell 
you’re  your  daughter  and     the Moor are now  making  the beast with  two  backs” Immediately 
Iago’s thoughts towards Othello  and  Desdemona’s elopement are evident  within  his tone.  He refers 
to Othello  as an  old black ram- indicating  his  racially  charged hatred  towards Othello. The 
metaphoric  reference  to Othello  and Desdemona making love is full of detestation and loathing;  it is
clear  that  whatever  affection he later  displays towards Othello- it is all  part  of  his act.
The  character  of Iago  is so layer that one  could  delve significantly deeper  into  his nuances and
personality;  however  it  is  undeniable that Iago  plays  the main  role in  plot  development  within  the
play. With  fine  usage of  techniques that hint  at Iago’s  haunted personality- Shakespeare  is able  to
conjure  up a villain that has fascinated  audiences for centuries.  At the end,  we leave without fully
understanding  the reasoning  behind  the tragic  conclusion; we are left  unsatisfied  yet intrigued  by
Iago;  a  being who eternally remains unknowable.
♨♨♨♨♨♨♨♨♨♨♨♨♨
24. Character Sketch of Desdemona

Desdemona’s is the most tragic and undeserved. She is a graceful beauty and loyal to her love. Othello
falls in love with her at the first sight. Her beauty, loyalty, grace and innocence are her most important
traits. She is good and kind hearted and from a noble family but lacks the penetrating wit of Portia.
Compared to Portia, Desdemona seems passive, meek and submissive.  Her innocence is her primary
weakness that leads her to death. At the core of the drama are the love and personal relationships and
their inbuilt vulnerabilities. Suspicion leads to loss of trust and relationships are spoilt to the extent
that both the lovers are dead by the end. From the outset of the drama it’s visible that Desdemona is
just as innocent as she is pretty.

Othello falls in love with her and persuades her to elope with him. He tells her the stories of his
victories in the battle field. Desdemona is deeply impressed because the two fall in love and elope
leaving Desdemona’s father and home behind. Once they are gone, Iago reaches her father Brabantio
 and raises the hell about their elopement.  He does it all to provoke Brabantio to complain against
Othello before the Duke. All throughout the drama Desdemona loves Othello and remains loyal to him.
However, her fate is the poorest of all the Shakespeare’s heroines because when it is time to prove her
loyalty she looks at a loss. She does not get love and loyalty in exchange for her love. Instead she has
to court death at the hands of her lover. She has done nothing to deserve this fate but then she has
kept losing control not long after she and Othello get married.

Things go on happily for some time between Othello and Desdemona and their relationship continues
to bloom for a while. Their romance is spoiled once Iago decides to doom their relationship and
executes his evil plan. Love’s vulnerability lies in trust and as it weakens hatred is born. Something
similar happens with Othello whose trust in Desdemona’s fidelity is weakened after Iago cleverly
injects suspicion in his mind.  Othello does love Desdemona deeply, but he cannot overcome his
suspicion. Enemy’s (Iago’s) moves worked and the brave general could not survive the misery of being
called a cuckold. Desdemona herself is not so clever either. She has escaped against her father’s will
and he would no more like to have her back. Her husband does not trust her like he did when they
had newly fallen in love.

She is clueless why she has lost Othello’s love and become an object of his suspicion. Othello is brave
but not wise enough to understand Iago’s evil intentions. Desdemona dreams of leading a peaceful
and romantic life with her brave and romantic general. However, fate has decided otherwise and future
holds things in stock that are quite unfortunate for the young couple. Iago tries his best to make a
controversy out of their love story but fails because of Othello’s influence as a general. Othello and
Desdemona start living a peaceful life after the general is posted in Cyprus, but Iago is still behind
them trying to make their life hell for he seeks revenge from Othello.

In act 3, scene 4 she is talking to Emilia about her lost handkerchief and how people are poisoning
Othello’s mind behind her.

Believe me, I had rather have lost my purse

Full of crusadoes. And, but my noble Moor
Is true of mind and made of no such baseness
As jealous creatures are, it were enough
To put him to ill thinking. (Act 3 scene 4)

Desdemona has some inkling of things going wrong between her and her husband but cannot do
anything because she is rendered helpless by her innocence and complete devotion to her love.
Basically, Iago has made her lose control of her affairs turning her into a poor scapegoat. First, she
lost her father when she left with the Moor,  then Iago took away her loving husband without whose
love and trust she has even lost herself. Her marriage with Othello had brought her pride and position
and she would have been leading a happy life, had not it been for the evil machinations of Iago. She is
beautiful and demonstrates all the characteristics of a lady from a noble family.
Othello cannot initially believe what he is told about Desdemona because he cannot doubt his own
senses that  he may have been wrong at judging her, but then his color and his inferiority complex
 affect his judgement. Iago brilliantly orchestrates the entire drama killing the two. Neither is Emilia
able to expose the truth nor Othello can find it out till the end. Desdemona is virtuous and should not
have met the tragic end she did . Yet, it is her innocence that despite trying her best she cannot prove
her fidelity before Othello. Rest of the credit goes to Iago who brilliantly orchestrates the entire drama
using every character skillfully. Desdemona is not foolish but still she is ignorant. Not knowing what
goes on behind her back she just believes in her love and hopes things to get fine again.

The audience’s sympathy still remains with Desdemona for her goodness. She is adored by her lover,
her father and the people she comes across. She loses control of her love and her life. This also
makes her fail to convince Othello. Othello has to bear the pain of being cuckolded (even if that is not
true). At last Iago’s plan has worked; however he is caught at the end and has to die.  Desdemona is
pure and gentle but all her goodness makes her a vulnerable target for Iago who has cruelly led the
innocent beauty and her marital relationship to their death,  just for the sake of revenge.

All throughout until his own death, Iago cunningly makes the general believe that he is a cuckold and
his wife whom he loves with all his heart has disgraced him, forcing him to kill his own love.
Desdemona  is made to pay for being the general’s wife and to face the things she never wanted or
deserved. So, if any character has died the most undeserved death in the drama apart from Emilia
(Iago’s wife), then it is Desdemona. If anyone is really responsible for her death, it is Iago. Othello is
also to be blamed to some extent but Desdemona has met a death that she had neither chosen nor
done anything to deserve. She is just made to pay for having fallen in love with Othello.