Chicago Shakespeare Theater: Othello Production Sponsor The Story In the city street shadows, two men discuss the night’s intel: Othello, a hired general in the Venetian army—and a Moor—has eloped with a young aristocrat of Venice, named Desdemona. Iago, the soldier, reassures Roderigo that all hope of winning the young woman’s heart is not yet lost; and that he, too, harbors reasons for hating the Moor, who has promoted over him Cassio, a young and privileged officer. Iago and Roderigo yell from the street below the news of Desdemona’s elopement to awaken her father Brabantio, who immediately seeks the full justice of Venetian law. But this night the Duke and senators are intent upon more pressing affairs of state: the Turks threaten Venetian interests in Cyprus, and the Moor’s service is required. Othello prepares to deploy to Cyprus and, with the Duke’s permission, Desdemona will join him there, attended by Iago’s wife Emilia. Now Iago conceives his plan: he will make the general believe that his new lieutenant is Desdemona’s lover. And so begins his work.

First ensnaring Cassio in a drunken brawl, Iago looks on as Othello predictably dismisses the officer from his service. Iago urges Cassio to seek Desdemona’s aid in recovering the general’s favor—while suggesting to Othello that her interest in a man’s misfortunes might signal a wife’s infidelity. Demanding proof, Othello is convinced when his first gift to Desdemona—an embroidered handkerchief belonging once to his mother—is misplaced and now passes, with guidance, to Cassio, then into the possession of a Cypriot prostitute named Bianca. For his great service to the general, Iago is appointed Othello’s new lieutenant. Desdemona, stunned by her husband’s accusations, pleads with him—first for compassion, then for her life. And as Emilia comes to understand her own husband, two women become caught inextricably in the crossfire. SparkNotes: Othello: Plot Overview Plot Overview Context Character List Othello begins on a street in Venice, in the midst of an argument between Roderigo, a rich man, and Iago. Roderigo has been paying Iago to help him in his suit to Desdemona.

But Roderigo has just learned that Desdemona has married Othello, a general whom Iago begrudgingly serves as ensign. Iago says he hates Othello, who recently passed him over for the position of lieutenant in favor of the inexperienced soldier Michael Cassio. Unseen, Iago and Roderigo cry out to Brabanzio that his daughter Desdemona has been stolen by and married to Othello, the Moor. Brabanzio finds that his daughter is indeed missing, and he gathers some officers to find Othello. Not wanting his hatred of Othello to be known, Iago leaves Roderigo and hurries back to Othello before Brabanzio sees him. At Othello’s lodgings, Cassio arrives with an urgent message from the duke: Othello’s help is needed in the matter of the imminent Turkish invasion of Cyprus. Not long afterward, Brabanzio arrives with Roderigo and others, and accuses Othello of stealing his daughter by witchcraft. When he finds out that Othello is on his way to speak with the duke, -Brabanzio decides to go along and accuse Othello before the assembled senate.

Brabanzio’s plan backfires. The duke and senate are very sympathetic toward Othello. Given a chance to speak for himself, Othello explains that he wooed and won Desdemona not by witchcraft but with the stories of his adventures in travel and war. The duke finds Othello’s explanation convincing, and Desdemona herself enters at this point to defend her choice in marriage and to announce to her father that her allegiance is now to her husband. Brabanzio is frustrated, but acquiesces and allows the senate meeting to resume. The duke says that Othello must go to Cyprus to aid in the defense against the Turks, who are headed for the island. Desdemona insists that she accompany her husband on his trip, and preparations are made for them to depart that night. In Cyprus the following day, two gentlemen stand on the shore with Montano, the governor of Cyprus. A third gentleman arrives and reports that the Turkish fleet has been wrecked in a storm at sea. Cassio, whose ship did not suffer the same fate, arrives soon after, followed by a second ship carrying Iago, Roderigo, Desdemona, and Emilia, Iago’s wife.

Once they have landed, Othello’s ship is sighted, and the group goes to the harbor. As they wait for Othello, Cassio greets Desdemona by clasping her hand. Watching them, Iago tells the audience that he will use “as little a web as this” hand-holding to ensnare Cassio (II.i.169). Othello arrives, greets his wife, and announces that there will be reveling that evening to celebrate Cyprus’s safety from the Turks. Once everyone has left, Roderigo complains to Iago that he has no chance of breaking up Othello’s marriage. Iago assures Roderigo that as soon as Desdemona’s “blood is made dull with the act of sport,” she will lose interest in Othello and seek sexual satisfaction elsewhere (II.i.222). However, Iago warns that “elsewhere” will likely be with Cassio. Iago counsels Roderigo that he should cast Cassio into disgrace by starting a fight with Cassio at the evening’s revels.

In a soliloquy, Iago explains to the audience that eliminating Cassio is the first crucial step in his plan to ruin Othello. That night, Iago gets Cassio drunk and then sends Roderigo to start a fight with him. Apparently provoked by Roderigo, Cassio chases Roderigo across the stage. Governor Montano attempts to hold Cassio down, and Cassio stabs him. Iago sends Roderigo to raise alarm in the town. The alarm is rung, and Othello, who had left earlier with plans to consummate his marriage, soon arrives to still the commotion. When Othello demands to know who began the fight, Iago feigns reluctance to implicate his “friend” Cassio, but he ultimately tells the whole story. Othello then strips Cassio of his rank of lieutenant. Cassio is extremely upset, and he laments to Iago, once everyone else has gone, that his reputation has been ruined forever. Iago assures Cassio that he can get back into Othello’s good graces by using Desdemona as an intermediary.

In a soliloquy, Iago tells us that he will frame Cassio and Desdemona as lovers to make -Othello jealous. In an attempt at reconciliation, Cassio sends some musicians to play beneath Othello’s window. Othello, however, sends his clown to tell the musicians to go away. Hoping to arrange a meeting with Desdemona, Cassio asks the clown, a peasant who serves Othello, to send Emilia to him. After the clown departs, Iago passes by and tells Cassio that he will get Othello out of the way so that Cassio can speak privately with Desdemona. Othello, Iago, and a gentleman go to examine some of the town’s fortifications. Desdemona is quite sympathetic to Cassio’s request and promises that she will do everything she can to make Othello forgive his former lieutenant. As Cassio is about to leave, Othello and Iago return. Feeling uneasy, Cassio leaves without talking to Othello.

Othello inquires whether it was Cassio who just parted from his wife, and Iago, beginning to kindle Othello’s fire of jealousy, replies, “No, sure, I cannot think it, / That he would steal away so guilty-like, / Seeing your coming” (III.iii.37–39). Othello becomes upset and moody, and Iago furthers his goal of removing both Cassio and Othello by suggesting that Cassio and Desdemona are involved in an affair. Desdemona’s entreaties to Othello to reinstate Cassio as lieutenant add to Othello’s almost immediate conviction that his wife is unfaithful. After Othello’s conversation with Iago, Desdemona comes to call Othello to supper and finds him feeling unwell. She offers him her handkerchief to wrap around his head, but he finds it to be “[t]oo little” and lets it drop to the floor (III.iii.291). Desdemona and Othello go to dinner, and Emilia picks up the handkerchief, mentioning to the audience that Iago has always wanted her to steal it for him.

Iago is ecstatic when Emilia gives him the handkerchief, which he plants in Cassio’s room as “evidence” of his affair with Desdemona. When Othello demands “ocular proof” (III.iii.365) that his wife is unfaithful, Iago says that he has seen Cassio “wipe his beard” (III.iii.444) with Desdemona’s handkerchief—the first gift Othello ever gave her. Othello vows to take vengeance on his wife and on Cassio, and Iago vows that he will help him. When Othello sees Desdemona later that evening, he demands the handkerchief of her, but she tells him that she does not have it with her and attempts to change the subject by continuing her suit on Cassio’s behalf. This drives Othello into a further rage, and he storms out. Later, Cassio comes onstage, wondering about the handkerchief he has just found in his chamber. He is greeted by Bianca, a prostitute, whom he asks to take the handkerchief and copy its embroidery for him.

Through Iago’s machinations, Othello becomes so consumed by jealousy that he falls into a trance and has a fit of epilepsy. As he writhes on the ground, Cassio comes by, and Iago tells him to come back in a few minutes to talk. Once Othello recovers, Iago tells him of the meeting he has planned with Cassio. He instructs Othello to hide nearby and watch as Iago extracts from Cassio the story of his affair with Desdemona. While Othello stands out of earshot, Iago pumps Cassio for information about Bianca, causing Cassio to laugh and confirm Othello’s suspicions. Bianca herself then enters with Desdemona’s handkerchief, reprimanding Cassio for making her copy out the embroidery of a love token given to him by another woman. When Desdemona enters with Lodovico and Lodovico subsequently gives Othello a letter from Venice calling him home and instating Cassio as his replacement, Othello goes over the edge, striking Desdemona and then storming out. That night, Othello accuses Desdemona of being a whore.

He ignores her protestations, seconded by Emilia, that she is innocent. Iago assures Desdemona that Othello is simply upset about matters of state. Later that night, however, Othello ominously tells Desdemona to wait for him in bed and to send Emilia away. Meanwhile, Iago assures the still-complaining Roderigo that everything is going as planned: in order to prevent Desdemona and Othello from leaving, Roderigo must kill Cassio. Then he will have a clear avenue to his love. Iago instructs Roderigo to ambush Cassio, but Roderigo misses his mark and Cassio wounds him instead. Iago wounds Cassio and runs away. When Othello hears Cassio’s cry, he assumes that Iago has killed Cassio as he said he would. Lodovico and Graziano enter to see what the commotion is about. Iago enters shortly thereafter and flies into a pretend rage as he “discovers” Cassio’s assailant Roderigo, whom he murders. Cassio is taken to have his wound dressed. Meanwhile, Othello stands over his sleeping wife in their bedchamber, preparing to kill her.

Desdemona wakes and attempts to plead with Othello. She asserts her innocence, but Othello smothers her. Emilia enters with the news that Roderigo is dead. Othello asks if Cassio is dead too and is mortified when Emilia says he is not. After crying out that she has been murdered, Desdemona changes her story before she dies, claiming that she has committed suicide. Emilia asks Othello what happened, and Othello tells her that he has killed Desdemona for her infidelity, which Iago brought to his attention. Montano, Graziano, and Iago come into the room. Iago attempts to silence Emilia, who realizes what Iago has done. At first, Othello insists that Iago has told the truth, citing the handkerchief as evidence. Once Emilia tells him how she found the handkerchief and gave it to Iago, Othello is crushed and begins to weep. He tries to kill Iago but is disarmed. Iago kills Emilia and flees, but he is caught by Lodovico and Montano, who return holding Iago captive.

They also bring Cassio, who is now in a chair because of his wound. Othello wounds Iago and is disarmed. Lodovico tells Othello that he must come with them back to Venice to be tried. Othello makes a speech about how he would like to be remembered, then kills himself with a sword he had hidden on his person. The play closes with a speech by Lodovico. He gives Othello’s house and goods to Graziano and orders that Iago be executed. Desdemona and Othello Analysis - Shakespeare Shakespeare An Analysis of Desdemona and Othello's Relationship Othello and Desdemona at the Metropolitan Opera. Getty Images By Lee Jamieson Updated April 14, 2016. At the heart of Shakespeare's Othello is the doomed romance between Desdemona and Othello. This Othello / Desdemona analysis reveals all.

Desdemona Analysis Too often played as a weak character, Desdemona defies her father “But here’s my husband, And so much duty as my mother showed To you, preferring you before her father, So much I challenge that I may profess Due to the Moor my lord” (Act 1 Scene 3, Line 184-188). This demonstrates her strength and her bravery, her father appears to be a very controlling man but she stands up to him. It is revealed that he has previously warned Roderigo off his daughter “My daughter is not for thee” ( Act 1 Scene 1 , Line 99) and she takes control so that he is unable to speak for her. Desdemona and Othello In marrying a black man, Desdemona also flies in the face of convention and unapologetically faces criticism for her bold choice. As Othello explains, it is Desdemona who pursued him she fell in love with his stories of valour; “These things to hear would Desdemona seriously incline” ( Act 1 Scene 3 , Line 145).

continue reading below our video Shakespeare: Othello Themes This also shows that she is not a submissive, passive character in that she decided she wanted him and she pursued him. Desdemona, unlike her husband, is not insecure, even when called a ‘whore’ she remains loyal to him and resolves to love him despite his misunderstanding of her; she is resolute and tenacious in the face of adversity. On the subject of her relationship with Othello, Desdemona says: That I did love the Moor to live with him, My downright violence and storm of fortunes May trumpet to the world: my heart's subdued Even to the very quality of my lord: I saw Othello's visage in his mind, And to his honour and his valiant parts Did I my soul and fortunes consecrate. So that, dear lords, if I be left behind, A moth of peace, and he go to the war, The rites for which I love him are bereft me, And I a heavy interim shall support By his dear absence. Let me go with him. Desdemona’s Tenacity Her tenacity partly serves as her downfall; she continues to champion Cassio’s cause even when she knows this may cause problems for her.

When she wrongly believes him to be dead, she openly weeps for him as she clearly sets out she has nothing to be ashamed of “I never did Offend you in my life, never loved Cassio” ( Act 5 Scene 2 , Line 63-64). Desdemona’s love for Othello is un-waning “My love doth so approve him That even his stubbornness, his checks, his frowns – Prithee unpin me – have grace and favour in them” (Act 4 Scene 3, Line 18-20). She bids Othello to do the sensible thing and ask Cassio how he obtained the handkerchief but this is too rational for Othello who has already ordered his murder. Even as Desdemona faces death, she asks Emilia to commend her to her ‘kind lord’. She remains in love with him knowing that he is responsible for her death. Desdemona is one of the only characters early in play, who stands up to Iago ; O fie upon thee slanderer” (Act 2 Scene 1, Line 116). She is astute and bold.

Othello Analysis Othello’s ability to impress is identified when he explains to Brabanzio how Desdemona fell in love with him. So impressed was she with his stories of world travel and bravery that it was she, who instigated their relationship. She, having the choice of many a more suitable match, chooses a man because of his boldness despite his racial difference. It could be argued that she loved him because of his racial difference if she meant to shock her father? In The Shakespeare Play 'Othello' - GCSE English - Marked by Teachers.com In The Shakespeare Play 'Othello' Extracts from this document... Introduction The Importance Of Act Three Scene Three In The Shakespeare Play 'Othello' Act III Scene III is the most important in the play. It is the famous corruption scene and takes place in the citadel's garden. It is here that Iago's plan goes from in his head into Othello's head. He finally unleashes his plan and it only takes one scene for Othello to be convinced that Desdemona is unfaithful. The scene is central to the play both in time and in action.

During these events relationships change, which can be never go back to the way they were. Major changes in character occur, for example Iago finally takes control of Othello. This scene is pivotal; the plot takes a full turn. Relationships between characters are good up to this point; however, it is after these events that Othello despises those close to him, excluding Iago, who has full control of Othello's head. This scene begins with Desdemona, Emilia and Cassio in discussion. Desdemona explains that she will plead with Othello in order to get Cassio's job back as lieutenant. This was planned by Iago, telling Cassio to ask Desdemona to ask for his job back, as this will play into Iago's hands when he is corrupting Othello's mind. When Desdemona does this Iago simply implies that she is in love with Cassio and that is the reason. The actual reason is that Desdemona is a caring, sweet person, who believes Cassio deserves his job back. Othello didn't originally want to fire Cassio, but felt he had to. ...read more.

Middle Othello says he isn't moved, and still believes Desdemona is still honest. Iago then proposes that Desdemona must be odd to turn down all the rich Venetian men and that she will go with anyone. Othello then uses Iago as a 'detective' to see what is really going on with his wife and Iago goes. This now is one of the few times in the play Othello is left on his own. He wonders why he married which is a strong reflection on his thoughts. He now believes Desdemona is unfaithful. He also believes Iago knows more than he is letting on. Iago then re-enters saying they are on their way. He says if Desdemona asks for Cassio to be re-instated it is conclusive evidence they are having an affair. Othello then says he will keep his self-control, and Iago again takes his leave. This is only Othello's second soliloquy in the whole play so far. In this he basically says that he will leave Desdemona if he finds out she is unfaithful. He uses bird imagery to describe this.

At this point Othello is still speaking normally and uses blank verse, a sign he is still in control, but later in the scene when he loses it he begins to speak in prose, as Iago speaks during the play. This is a sad soliloquy in which the audience would feel sorry for Othello. He says he is black and old and it is no wonder she had an affair. ...read more. Conclusion In loving the other characters, when Iago does this for Othello, Othello will hold him in high respect for it. Iago then introduces the handkerchief to the scene. He acts as if he knows nothing about it "have you not sometimes seen a handkerchief spotted with strawberries in your wife's hand?" Othello tells him it was his first gift to Desdemona, Iago then says he saw Cassio wipe his beard with it. This drives Othello mad. The handkerchief was a sign of their eternal love, and she is using it as if it means nothing, or that is what Iago is implying. Othello now wants revenge. He hasn't stopped loving Desdemona, but feels after what she has supposedly done, he has no choice.

He sees killing Desdemona as a good thing; he has a lust to kill her. Othello kneels and swears to heaven he will kill both Desdemona and Cassio, and Iago know kneels with him. They are treating it as if it was a crusade it has to be done. Othello then tells Iago to kill Cassio, to which Iago replies, it is as good as done, "But let her live" almost saying to Othello, kill her. Othello then says he will kill her and Iago is his new lieutenant. Othello is now completely in Iago's hands. This scene is the most important in the play as everything in the play evolves around this scene, and Othello is corrupted in the scene of evil and deception. Adam Warburton - Year 11 GCSE Coursework - Othello Page 1 ...read more. The above preview is unformatted text This student written piece of work is one of many that can be found in our GCSE Othello section. Found what you're looking for?

Start learning 29% faster today 150,000+ documents available Shakespeare's Othello Act 5 Scene 2 - Othello Stabs Himself and Smothers Desdemona Explanatory Notes for Act 5, Scene 2 From Othello. Ed. Brainerd Kellogg. New York: Clark & Maynard. Abbreviations. � A.-S. = Anglo-Saxon: M.E. = Middle English (from the 13th to the 15th century) ; Fr. = French ; Ger. = German ; Gr. = Greek ; Cf. = compare (Lat. confer) ; Abbott refers to the excellent Shakespearean Grammar of Dr. Abbott; Schmidt, to Dr. Schmidt's invaluable Shakespeare Lexicon. ____ 12. Prometheus stole fire from heaven and gave it to man. 19. Kissing her again. 20. I cannot help weeping, but I am pitiless ; my sorrow is like the love of the gods, who take those they love. 29. Grace, pardon, mercy. 48. My only sin consists in loving you with all my heart and against my father's wishes. 62.

Presently = immediately � in Shakespeare's day. 77. If I hate you (for your denials) it ceases to be a sacrifice. 129. Error, movement, wandering. 159. False as water. The comparison is as old as Jacob's farewell to his sons: "Reuben, unstable as water." � Gen. xlix. 4. The poet Keats chose for his epitaph, "Here lies one whose name was writ in water." 171. Chrysolite, from two Greek words signifying gold and stone. 179. His villany has deceived your love. 187. Othello threatens Emilia. 198. Must say that you have instigated them to murder. 214. Charm, restrain, hold. Cf. "To tame a shrew, and charm her chattering-tongue." � Taming of the Shrew, iv. 2. 58. 222. When she gave the handkerchief to lago. 247. Recognizance, badge, token. 254. As liberal as the north, as free in my speech as the north wind in its blasts. 262.

By fortune, by chance. 271. Coxcomb, a fool. From the crest in the fool's cap. 284. Puny is for puisne, a law term implying inferior in rank. Latin post natus, born after. Whipster. Originally -ster was the feminine suffix of agency � e.g. brewster, tappestre (Chaucer, a barmaid � but the distinction was soon lost, and maltster, huckster, baxter (baker) were masculine. 287. I will play the swan. Cf. Tennyson � "The wild swan's death-hymn took the soul Of that waste place with joy Hidden in sorrow." 292. May my soul not reach heaven, if I lie. 295. Tempered in a brook as cold as ice. The Toledo swords were noted. The test of excellence was that the points could be driven with a man's full strength against a stone wall without breaking. 310. Butt, goal, end. 316. Smock, a woman's under-garment. From an A.S.

word, meaning to creep into; anything put on over the head. Compt, reckoning � at the Day of Judgment. 329. To see if he has cloven feet. 334. Sense, opinion. 378. Hurt him, was his ruin. 382. For, as for. 395. Wrought, worked upon by suggestions. 397. Base, rude, untutored. 407. Period, end. 413. Hounds of Sparta are several times alluded to in Shakespeare, but what is meant here is probably the Spartan savageness of character. 414. Fell, cruel, destructive. "Othello does not kill Desdemona in jealousy, but in a conviction forced upon him by the almost superhuman art of Iago, such as any man must and would have entertained who had believed lago's honesty as Othello did."� S. T. Coleridge. But how little Othello does to investigate Iago's charges! His credulity is incredible. How to cite the explanatory notes: Shakespeare, William. Othello. Ed. Brainerd Kellogg.

New York: Clark & Maynard, 1892. Shakespeare Online. 20 Feb. 2010. (date when you accessed the information) < >. ___________ SparkNotes: Othello: Act III, scene iv Act III, scene iv Act III, scenes i–iii Act III, scene iv, page 2 page 1 of 2 Summary Desdemona orders the clown to find Cassio and bring him the message that she has made her suit to Othello. As the clown departs, Desdemona wonders to Emilia where her handkerchief might be. Othello enters and tells Desdemona to give him her hand. She does so, and he chastises her for her hand’s moistness, which suggests sexual promiscuity. He then asks her to lend him her handkerchief. When Desdemona cannot produce the handkerchief he wants to see, Othello explains the handkerchief’s history. An Egyptian sorceress gave it to his mother and told her that it would make her desirable and keep Othello’s father loyal, but if she lost it or gave it away, Othello’s father would leave her.

Othello’s mother gave him the magic handkerchief on her deathbed, instructing him to give it to the woman he desired to marry. Desdemona is unsettled by the story and says that she has the handkerchief, but not with her. Othello does not believe her. As he accuses her, demanding “The handkerchief!” with increasing vehemence, she entreats for Cassio as a way of changing the subject. After Othello storms off, Emilia laments the fickleness of men. Cassio and Iago enter, and Cassio immediately continues with his suit to Desdemona for help. Desdemona tells Cassio that his timing is unfortunate, as Othello is in a bad humor, and Iago promises to go soothe his master. Emilia speculates that Othello is jealous, but Desdemona maintains her conviction that Othello is upset by some political matter. She tells Cassio to wait while she goes to find Othello and bring him to talk with his former lieutenant. While Cassio waits, Bianca, a prostitute, enters.

She reprimands him for not visiting her more frequently, and he apologizes, saying that he is under stress. He asks her to copy the embroidery of a handkerchief he recently found in his room onto another handkerchief. Bianca accuses him of making her copy the embroidery of a love gift from some other woman, but Cassio tells her she is being silly. They make a plan to meet later that evening. Analysis In this scene, the time scheme of the play begins to unravel. When Bianca talks to Cassio, she says, “What, keep a week away,” suggesting that Cassio has been on the island for at least a week (III.iv.168). But the play has only represented three days thus far: the first day in Venice, the day of the arrival and revels in Cyprus, and the day that begins at the beginning of Act III and continues until the end of the play. Critics and editors have named this problem the “double time scheme”: two separate time frames operate simultaneously. This inconsistency is somewhat disorienting—like Othello, the audience feels stuck in a chaotic world. The events onstage are not only beyond our control, they defy logical understanding.

For instance, it is difficult to understand how Desdemona could have had time to commit adultery. From the moment it is introduced into the plot, the handkerchief given to Desdemona by Othello becomes the play’s most important symbol. As a charmed gift given to Othello by his mother, the handkerchief represents Othello’s mysterious and exotic heritage, a heritage that he has repudiated as a Christian and Venetian citizen. More immediately, to Othello the handkerchief represents Desdemona’s chastity, and her giving it away is a sign that she has given her body away. In Act III, scene iii, Iago mentions that the handkerchief’s much-discussed embroidery is a design of strawberries. The image of strawberries on a white background recalls the bloodstains on a wedding sheet that prove a bride’s virginity; moreover, the dye used to color the strawberry pattern actually consists of the preserved blood of dead virgins. Thus, the handkerchief suggests a number of different interpretations. By positioning the handkerchief in Cassio’s lodging, Iago as good as convicts Desdemona of unfaithfulness.

And when, in the following scene, Bianca is found to be in possession of the handkerchief, instructed to copy the embroidery, Desdemona seems no better than a prostitute herself, carelessly allowing what was once a symbol of Othello’s uniqueness to be passed around and replicated. Othello has convinced himself that Desdemona has lost her virtue because she has lost a symbol of that virtue. Emilia, who betrays her privileged position as Desdemona’s attendant by giving Iago the handkerchief, is an elusive character. Emilia seems to become loyal to her husband in a way she hasn’t been in the past: she decides to give Iago the handkerchief after having denied his request “a hundred times,” and she lies to Desdemona about not knowing the handkerchief’s whereabouts. Yet later, in Act IV, scene ii, Emilia will attempt to convince Othello of Desdemona’s loyalty. She seems deeply skeptical of and knowledgeable about men in general.

She immediately recognizes that Othello is jealous, despite Desdemona’s protests, and her comment that jealousy “is a monster / Begot upon itself, born on itself” (III.iv.156–157) echoes Iago’s earlier remark that jealousy “is the green-eyed monster which doth mock / The meat it feeds on” (III.iii.170–171). Iago mentions at the beginning of the play that he suspects his wife of unfaithfulness, and on one level Iago and Emilia seem to work out their conflict vicariously through Othello and Desdemona. But Emilia also comments that men “are all but stomachs, and we are all but food. / They eat us hungrily, and when they are full, / They belch us” (III.iv.100–102). This comment supports a reading of Othello’s jealousy as a way of justifying his rejection of Desdemona. 1 Chicago Shakespeare Theater: Othello: The Remix The Story Shakespeare's story of Othello...

Desdemona, a young aristocrat of Venice, has just eloped with Othello, a hired general in the Venetian army—and a Moor. Roderigo, lovesick for Desdemona, is assured by Iago that he, too, harbors hatred for the Moor, who has promoted Cassio over him as lieutenant. Desdemona’s father, Brabantio, seeks the full justice of Venetian law, but the Duke is concerned with pressing affairs of state: the Turks threaten Venetian interests in Cyprus, and the Moor’s service is required. Othello prepares to embark for Cyprus with his new bride. Iago plots to make Othello believe that the young Venetian officer Cassio is Desdemona’s lover. Ensnaring Cassio in a drunken brawl, Iago looks on as Othello predictably dismisses his new lieutenant. Iago urges Cassio to seek Desdemona’s aid in recovering Othello’s favor, then suggests to Othello that his wife’s interest in Cassio’s misfortunes may signify her infidelity.

Demanding “ocular proof,” Othello is convinced when his first gift to Desdemona, a handkerchief, is misplaced and, with help from Iago’s wife Emilia, ends up in Cassio’s possession. For service to his general, Iago is appointed Othello’s new lieutenant. Stunned by her husband’s accusations, Desdemona pleads with Othello—first for his compassion, then for her life. As Emilia comes to understand her husband’s crimes, she is murdered for the truth she dares to speak. Tormented by remorse and grief, Othello takes his own life. ...is remixed into... Against all odds, MC Othello escapes the ghetto by giving rhythm and voice to the stories of the people in his hood. As he rises to the top of the music industry, he is living proof of the “American dream.” Othello falls in love with Desdemona, a beautiful singer whose vocals add the final piece that catapults him to stardom. They marry, despite her aristocratic father’s disapproval, and are sent by Loco Vito, the CEO of the record label, on a national tour.

Other members of the crew include Cassio, a glitzy pop music rapper, and Iago, a hardcore underground lyricist and hip hop purist. Othello decides to release Cassio’s album next in an effort to reach a wider audience. Angered by this decision, Iago vows to take Othello down. He enlists the help of Roderigo, the nerdy, socially awkward lighting designer on tour—and in love with Desdemona. With a promise to win him the heart of the one he loves, Iago steals Roderigo’s money and sells him on his plan to remove Cassio from the group. Meanwhile, Iago continues to plant seeds of jealousy in Othello about a fabricated affair between Desdemona and Cassio. Further upset by Cassio’s bizarre behavior at an important album release event, Othello kicks him out of the group. Iago convinces Roderigo to kill Cassio. Roderigo bungles the murder attempt and Iago, worried that his plan will be uncovered, kills Roderigo himself. Othello, now on the brink of insanity, flies into a jealous rage and murders his love, Desdemona.

Iago’s wife Emilia enters to find her friend dead, and reveals the truth of her husband’s evil plot. In the wake of this overpowering news, Othello takes his own life. Othello | Shakespeare in American Communities He that filches from me my good name Robs me of that which not enriches him And makes me poor indeed. " Othello, a Moor general in the Venetian army, has secretly married his beloved Desdemona, daughter of Venetian Senator Brabantio. He has also promoted Cassio to be his lieutenant, which infuriates Iago, who was expecting the promotion for himself. Iago becomes obsessed with revenge, and determines to use Desdemona to achieve his goals. Othello is sent to Cyprus by the Duke of Venice, and Desdemona joins him, bringing Emilia, her lady in waiting, with her. Emilia also happens to be Iago's wife. Once in Cyprus, Iago successfully stains Cassio's reputation by getting him drunk and encouraging a fight that leads to Cassio's arrest and demotion.

At Iago's prompting, the deeply remorseful Cassio begs Desdemona to plead his case to her husband, Othello, so that he might return to his service. Iago then plants the seed of doubt in Othello's mind that Desdemona may be unfaithful to him with Cassio. When Desdemona does then plead the demoted soldier's case, Othello's suspicions are aroused. To further Othello's paranoia, Iago acquires a handkerchief of Desdemona's (a treasured gift from her husband) and arranges to have it planted in Cassio's possession. His jealousy and rage encouraged, Othello instructs Iago to kill Cassio while he violently confronts his own wife. Despite Desdemona's claims of innocence, Othello is convinced of her infidelity and strangles his wife in her bed. When Emilia discovers the body, she refuses to believe her husband could be so evil as to manipulate Othello to murder. But as the truth reveals itself, Emilia reports the events of the tragedy—despite Iago's violent attempts to stop her.

Faced with the shame of having murdered an innocent Desdemona, the tormented Othello stabs and kills himself. A furious Iago murders his own wife, and must then face the justice of the Venetian state. How does Shakespeare use language and stagecraft to show Othello's changing feelings towards Dedemona throughout Othello - GCSE English - Marked by Teachers.com How does Shakespeare use language and stagecraft to show Othello's changing feelings towards Dedemona throughout Othello Extracts from this document... Introduction How does Shakespeare use language and stagecraft to reflect Othello's feelings towards Desdemona throughout Othello? (Focussing on Act 2 Scene 1, Act 3, Scene3, and Act 5 Scene 2) Othello was written by Shakespeare in the year 1603. It was first performed in court, but not published until 1622. William Shakespeare took ideas from Giraldi Cinthio's Hecca Tommithi - an Italian collection of 100 stories which were popular at the time, and studied by many playwrights and scholars.

The play is about love, jealousy, deceit, racism and lies, and is one of Shakespeare's tragedies. Othello is set in two places- the first act in Venice and the rest of the play at a sea port in Cypress. Venice was a powerful city, with a wealthy, law-abiding and formal society. In contrast, Cypress was rowdy, not law-abiding, and constantly fighting. It is an island, which was attacked in 1570 by the Turks, having belonged to Italy for more than 100 years. Women were thought of as stupid, silly, and objects only for having children, doing as they were told, and less intelligent. A wife was bought for a dowry, and parents would sell off their daughters to gain influence or money. Desdemona was Othello's wife - they have been secretly married before the beginning of the play. She is the daughter of Venetian senator Barbanzio, and typically pure and meek, while being determined and self possessed. Othello believes her to be perfect and devoted to him, until Iago tricks him into thinking that she had been unfaithful. Distraught, Othello murders her.

Emilia was Iago's wife, and Desdemona's assistant. She is very attached to her mistress, and distrustful of her husband. She is a very cynical character. Act 2 Scene 1 Shakespeare has used many exclamation marks (!) to show the characters' strong emotions. "O my fair warrior! My dear Othello" This stagecraft allows the actor to express the character's strong emotions and emphasise stronger words by speaking loudly and strongly. ...read more. Middle He says: "I think my wife be honest, and I think she is not; I think thou art just, and think thou art not. I'll have some proof." He again demands proof, but admits he cannot be sure who is right and who to trust. He needs to see proof. Iago says that the only proof he could see would be to: "Grossly gape on... behold her topped" He asks if he really wants to see proof, if it would be watching Desdemona with Cassio on top of her.

But Iago then gives him proof - that he heard Cassio talking in his sleep about Desdemona, and saw him use her special handkerchief - the one she had been given as a first gift from Othello and had dropped earlier - to wipe his beard with. Othello goes mad, and curses her, calling for revenge. Then, he makes Iago his lieutenant. Act 5, Scene 2 This is the "death scene" - where Othello kills Desdemona. It is the end of their relationship, and Othello has decided that she is unfaithful, and this is his revenge. In a soliloquy at the beginning of the scene, Othello says "I'll not shed her blood nor sear that whiter skin of hers than snow" He still loves her, and thinks her beautiful. He doesn't want to spoil her perfection - he still wants her to look the same, showing that he still loves her, or he may just not want her to change from the Desdemona he loved to what he could think of as Cassio's Desdemona - ruined.

If she still looks the same, he could still think of her as the same as she was before, and not be tortured by memories of her ruined body. "If I quench thee, thou flaming minister, I can again thy former light restore... I cannot give it vital growth again" He says that while he can easily relight a candle - the metaphor "thou flaming minister" - he cannot restore Desdemona once he has killed her. ...read more. Conclusion At the beginning of the play, Othello and Desdemona's love is strong and emotional - they are recently wed, and still feel a passionate and strong love for each other. By scene three, Othello is beginning to doubt Desdemona's love and faithfulness, having begun to believe Iago's claims that she is unchaste and loves Cassio. In the last scene, when Othello kills Desdemona, he believes Iago, but still feels some love for his wife. He sees her death as a necessity, but also a sacrifice, showing that he no longer believes their love can continue, nor that his love was ever returned.

Only after he kills her does he realise his mistake and how Iago was controlling him and his emotions, and kills himself. Strong, emotive language is used to show his feelings towards Desdemona - first of love, then confusion. His feelings were always strong, and moments of strong emotions were often shown by shortening sentences, short and sharp words, and punctuation such as exclamation marks, which showed Othello's shortness of breath and passion, and builds up tension and excitement. It also showed the actor how to emphasise certain words or emotions, and told the audience what the character was feeling. When Othello speaks to other characters in the play, he speaks in calm, measured blank verse; but when he speaks to or about Desdemona near the beginning of the play, he often uses more poetic, rhyming speech, which shows his love for her. However, when he is angry, for example in Act 5, scene 2, he switches to a rougher voice, which would often be used by Shakespeare for less educated or lower characters in plays. This shows how Iago has been affecting him - making him more the angry, possessive lover than the clear-thinking General.

Throughout the play, Shakespeare uses strong, emotive language, and stagecraft such as exclamation marks and other punctuation and a variety of sentence lengths and speech styles. This helps to show Othello's feelings towards Desdemona and how they change throughout the play, from loving to possessive and angry. ?? ?? ?? ?? Kate Prescott ...read more. The above preview is unformatted text This student written piece of work is one of many that can be found in our GCSE Othello section. Found what you're looking for? Start learning 29% faster today 150,000+ documents available

Question: In the Shakespeare play ‘Othello’, what was Othello’s first gift to Desdemona?
Answer: A handkerchief