Othello by William Shakespeare

 Othello by William Shakespeare

Brief Biography of William Shakespeare

Shakespeare's father was a glove-maker, and Shakespeare received no more than a grammar school education. He married Anne Hathaway in 1582, but left his family behind around 1590 and moved to London, where he became an actor and playwright. He was an immediate success: Shakespeare soon became the most popular playwright of the day as well as a part-owner of the Globe Theater. His theater troupe was adopted by King James as the King's Men in 1603. Shakespeare retired as a rich and prominent man to Stratford-upon-Avon in 1613, and died three years later.

Historical Context of Othello

From the eleventh to the fifteenth century, Catholics battled to re-conquer Spain from the Islamic Arabs and Berbers, or Moors, who had successfully occupied it since the 900s. The struggle inspired intense prejudice and suspicion that lasted well after the Moors were overthrown. Philip III of Spain expelled 300,000 "Moriscos" from the Iberian (Spanish) peninsula not long after Shakespeare finished Othello, in 1609. In England during Shakespeare's time, views regarding "Moors" were slightly more complex because of strong anti-Catholic sentiment in England and English fears of invasion by the Spanish. In fact, England maintained independent trade relationships with "Moorish" Northern Africa, despite Spanish and Portuguese protest. The English slave trade also brought blacks to Europe, from mid-sixteenth century onward. Queen Elizabeth herself founded The Barbary Company, formally institutionalizing this trade; in addition, she received a delegation of Moroccan diplomats in 1600. However, the English still felt a strong suspicion of Islam: Elizabeth issued a degree expelling Moors from Africa and Spanish "Moriscos" from the boundary of England in 1599 and 1601.

Key Facts about Othello

• Full Title: The Tragedy of Othello, the Moor of Venice
• When Written: c. 1603
• Where Written: England
• When Published: 1622
• Literary Period: The Renaissance
• Genre: Tragedy
• Setting: Venice and Cyprus
• Climax: The murder of Desdemona, by Othello
• Antagonist: Iago

Plot Summary

In Venice, Roderigo complains to Iago that, despite the money he's given Iago to help him woo Desdemona, she's eloped with the Moorish general Othello. Iago responds that he too hates Othello, for whom he works as a standard-bearer: Othello chose Cassio, rather than Iago, to be his lieutenant. The two men go to the home of Desdemona's father, the senator Brabantio, and rouse him with graphic descriptions of his daughter having sex with the Moor. Brabantio, enraged, interrupts Othello as he receives an urgent message from the Duke of Venice, and accompanies Othello see the Duke. In front of the Duke, Brabantio accuses Othello of having used magic to seduce Desdemona. Othello responds that it was stories of his exciting life history and military bravery that won Desdemona. When summoned, Desdemona supports Othello's story. Brabantio grudgingly blesses the newlyweds. The Duke then sends Othello to lead a fleet of Venetians to defend Cyprus from a Turkish attack. Desdemona accompanies him. Iago reassures Roderigo that he will still win Desdemona in the end, then privately admits that he's just using Roderigo for money while he plots his own revenge.

When the Venetians arrive in Cyprus, the governor Montano reports that a storm at sea has drowned the Turkish fleet, eliminating the military threat. Iago quickly hatches a plan to make Othello believe that Desdemona has been unfaithful to him with either Cassio or Roderigo. That night, while Othello and Desdemona go to bed to consummate their marriage, Iago succeeds in getting Cassio drunk. He then goads Roderigo into provoking Cassio, starting a brawl. Disgusted, Othello demotes Cassio.

Meanwhile, Iago convinces Desdemona to try to get Othello to reinstate Cassio. Iago then uses Desdemona's requests that he be merciful to Cassio to make Othello suspect that Desdemona is cheating on him with Cassio. Othello, takes the bait, repeatedly praising Iago for his honesty. Later, when Desdemona accidentally drops a handkerchief that Othello had given to her as a love-token, Emilia gives it to Iago, who had long asked her to steal it for him. Iago then plants it in Cassio's room.

Othello, upset, demands that Iago show him proof of Desdemona's infidelity. Iago responds that he has heard Cassio fantasize lewdly about Desdemona in his sleep and that he has seen Cassio wipe his mouth with Desdemona's handkerchief. Othello promotes Iago to the status of lieutenant and orders him to kill Cassio within three days. Othello then goes to Desdemona's room, and asks her for the handkerchief. Desdemona, who had been searching for the handkerchief, admits she can't find it. Othello storms off. Meanwhile, Cassio's mistress, the prostitute Bianca, comes to his quarters. Cassio asks her to make a copy of a handkerchief he's recently found in his room, because he admires it.

Iago continues to spur Othello's jealousy. When he reports that Cassio has admitted to sleeping with Desdemona, Othello falls into an epileptic fit. Iago urges Othello to hide while he questions Cassio about Desdemona. In fact, he asks Cassio about Bianca, causing Cassio to laugh. Watching from afar, Othello grows increasingly furious. Then, Bianca shows up, and throws Desdemona's handkerchief at Cassio, accusing him of having it from another whore. After Cassio and Bianca leave, Iago easily persuades Othello to kill Desdemona. Iago promises to take care of Cassio himself. He then convinces Roderigo that if Cassio were to die, Othello would have to remain in Cyprus, leaving Desdemona in Venice for Roderigo. Iago instructs Roderigo to wait outside Bianca's house that night and kill Cassio when he leaves.

That night, Iago sets Roderigo up to kill Cassio as planned. When Cassio exits Bianca's house, Roderigo attacks him; both are wounded. Overhearing Roderigo's cries for help, Othello believes that Cassio is dead and is impressed by Iago's loyalty. Meanwhile, Iago goes to Bianca's; finding Cassio wounded, he stabs Roderigo, killing him (and thus assuring that his secret will not be revealed). Iago then calls the others, including Bianca, whom he arrests, accusing her of having conspired with Roderigo. While this is going on, Othello arrives at Desdemona's chamber. Enchanted by her beauty, he nonetheless resists her pleas to spare her life, and he smothers her with a pillow. Emilia arrives to tell Othello that Roderigo is dead and Cassio alive, when she hears Desdemona's dying cries.

When Emilia demands why Othello has killed Desdemona, Othello explains how Iago proved to him that Desdemona slept with Cassio. As Montano, Iago, and Gratiano, a relative of Brabantio's all arrive, Emilia accuses Iago of lying and explains that she stole this from Desdemona at her husband's behest. Othello attacks Iago. In the uproar, Iago stabs and kills Emilia, then flees. Montano and Gratiano disarm Othello, then chase down Iago. When he is dragged back in their custody, Othello wounds him before being disarmed again. Letters found on Roderigo's corpse reveal the full extent of Iago's plots; he himself refuses to explain himself. Othello draws a hidden dagger and, after a speech, kills himself.

Othello Themes

Prejudice

The most prominent form of prejudice on display in Othello is racial prejudice. In the very first scene, Roderigo and Iago disparage Othello in explicitly racial terms, calling him, among other things, "Barbary horse" and "thick lips." In nearly every case, the prejudiced characters use terms that describe Othello as an animal or beast. In other words, they use racist language to try to define Othello not only as an outsider to white Venetian society, but as being less human and therefore less deserving of respect. Othello himself seems to have internalized this prejudice. On a number of occasions he describes himself in similarly unflattering racial terms. And when he believes that he has lost his honor and manhood through Desdemona's supposed unfaithfulness, he quickly becomes the kind of un-rational animal or monster that the white Venetians accuse him of being.

Appearance vs. Reality

In Othello, Shakespeare plays with the idea of unreliable reality in a number of ways. The language of the play, which time and again refers to dreams, trances, and vision, constantly highlights the way in which what seems to be real may actually be fake. In addition, Shakespeare extends the theme of appearance vs. reality to include the art of playwriting and acting. As he develops his plot against Othello, Iago creates scenes within scenes. He sets up encounters between two characters and putting a third in the position of a spectator. For instance, he has Othello watch Cassio and Desdemona speak, and he has Othello watch him speak with Cassio about Bianca. In each case, Iago manipulates Othello so that Othello sees the appearance that Iago wants him to see, rather than the reality of what is actually happening. In this way, Iago becomes a kind of "director"—he even directly addresses the audience through his many soliloquies—and Shakespeare draws attention to the way that a playwright and actors create an appearance onstage that tricks the audience into seeing something other than reality.

Jealousy

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.

Manhood and Honor

Throughout the play, various male figures seek to assert and protect their manhood and their honor. Based on the Duke's regard for him in 1.3, it is clear that Othello has attained political power through his military might. The subplot in which Iago gets Cassio drunk and causes him to humiliate himself, also indicates the importance of "reputation, reputation, reputation." In fact, Cassio asserts that reputation is all that makes you human ("I have lost the immortal part of myself, and what remains is bestial". Iago asserts—however genuinely or disingenuously—that reputation is more valuable than anything in the world: "good name in man and woman is the immediate jewel of their souls".

Womanhood and Sexuality

Two contrasting images of womanhood dominate Othello: the virtuous and loyal woman, or Madonna, embodied by Desdemona; and the whore, embodied, to a certain extent by Bianca. Yet over the course of the play, it becomes clear that these two different ways of describing women don't actually apply to real women. Instead, they are male fantasies imposed on women—ideals that men want woman to fulfill, and roles that women therefore purposefully play for men. For instance, Desdemona often describes her devotion to Othello in front of other people, underscoring that, even though she does love him very deeply, she is to a certain extent playing the role of the virtuous wife. Iago then stokes Othello's jealousy in part by forcing Othello to realize that there is no way for a man to tell the difference between a truly virtuous wife and one who is just playing the role of virtuous wife while actually acting as a whore and being unfaithful.