research paper on othello

Literary Theory and Criticism

Home › Drama Criticism › Analysis of William Shakespeare’s Othello

Analysis of William Shakespeare’s Othello

By NASRULLAH MAMBROL on July 25, 2020 • ( 0 )

Of all Shakespeare’s tragedies . . . Othello is the most painfully exciting and the most terrible. From the moment when the temptation of the hero begins, the reader’s heart and mind are held in a vice, experiencing the extremes of pity and fear, sympathy and repulsion, sickening hope and dreadful expectation. Evil is displayed before him, not indeed with the profusion found in King Lear, but forming, as it were, the soul of a single character, and united with an intellectual superiority so great that he watches its advance fascinated and appalled. He sees it, in itself almost irresistible, aided at every step by fortunate accidents and the innocent mistakes of its victims. He seems to breathe an atmosphere as fateful as that of King Lear , but more confined and oppressive, the darkness not of night but of a close-shut murderous room. His imagination is excited to intense activity, but it is the activity of concentration rather than dilation.

—A. C. Bradley, Shakespearean Tragedy

Between William Shakespeare’s most expansive and philosophical tragedies— Hamlet and King Lear —is Othello, his most constricted and heart-breaking play. Othello is a train wreck that the audience horrifyingly witnesses, helpless to prevent or look away. If Hamlet is a tragedy about youth, and Lear concerns old age, Othello is a family or domestic tragedy of a middle-aged man in which the fate of kingdoms and the cosmos that hangs in the balance in Hamlet and Lear contracts to the private world of a marriage’s destruction. Following his anatomizing of the painfully introspective intellectual Hamlet, Shakespeare, at the height of his ability to probe human nature and to dramatize it in action and language, treats Hamlet’s temperamental opposite—the man of action. Othello is decisive, confident, and secure in his identity, duty, and place in the world. By the end of the play, he has brought down his world around him with the relentless force that made him a great general turned inward, destroying both what he loved best in another and in himself. That such a man should fall so far and so fast gives the play an almost unbearable momentum. That such a man should unravel so completely, ushered by jealousy and hatred into a bestial worldview that cancels any claims of human virtue and self-less devotion, shocks and horrifies. Othello is generally regarded as Shakespeare’s greatest stage play, the closest he would ever come to conforming to the constrained rules of Aristotelian tragedy. The intensity  and  focus  of  Othello   is  unalleviated  by  subplots,  comic  relief,  or  any  mitigation  or  consolation  for  the  deterioration  of  the  “noble  Moor”  and  his  collapse into murder and suicide. At the center of the play’s intrigue is Shakespeare’s most sinister and formidable conceptions of evil in Iago, whose motives and the wellspring of his villainy continue to haunt audiences and critics alike. Indeed, the psychological resonances of the drama, along with its provocative racial and gender themes, have caused Othello, perhaps more than any other of Shakespeare’s plays, to reverberate the loudest with current audiences and commentators. As scholar Edward Pechter has argued, “During the past twenty-five years or so, Othello has become the Shakespearean tragedy of choice, replacing King Lear in the way Lear had earlier replaced Hamlet as the play that speaks most directly and powerfully to current interests.”

Shakespeare derived his plot from Giraldi Cinthio’s “Tale of the Moor,” in the story collection Hecatommithi (1565), reshaping Cinthio’s sensational tale of jealousy, intrigue, and murder in several key ways. In Cinthio’s story, Alfiero, the scheming ensign, lusts after the Moor’s wife, named Disdemona, and after she spurns his advances, Alfiero seeks vengeance by accusing her of adultery with Cassio,  the  Moor’s  lieutenant.  Alfiero,  like  Iago,  similarly  arouses  the  Moor’s  suspicions by stealing Disdemona’s handkerchief and planting it in Cassio’s bed-room. However, the Moor and Alfiero join forces to kill Disdemona, beating her  to  death  with  a  stocking  filled  with  sand  before  pulling  down  the  ceiling  on her dead body to conceal the crime as an accident. The Moor is eventually captured,  tortured,  and  slain  by  Disdemona’s  relatives,  while  the  ensign  dies  during torture for another crime. What is striking about Shakespeare’s alteration of Cinthio’s grisly tale of murder and villainy is the shift of emphasis to the provocation for the murder, the ennobling of Othello as a figure of great stature and dignity to underscore his self-destruction, and the complication of motive for  the  ensign’s  actions.  Cinthio’s  version  of  Iago  is  conventionally  driven  by  jealousy  of  a  superior  and  lust  for  his  wife.  Iago’s  motivation  is  anything  but  explainable in conventional terms. Dramatically, Shakespeare turns the focus of the play from the shocking crime to its causes and psychic significance, trans-forming Cinthio’s intrigue story of vile murder into one of the greatest dramatic meditations on the nature of love and its destruction.

What  makes  Othello  so  unique  structurally  (and  painful  to  witness)  is  that  it  is  a  tragedy  built  on  a  comic  foundation.  The  first  two  acts  of  the  play  enact  the  standard  pattern  of  Shakespeare’s  romantic  comedies.  The  young Venetian noblewoman, Desdemona, has eloped with the middle-aged Othello, the military commander of the armed forces of Venice. Their union is opposed by Desdemona’s father, Brabantio, and by a rival for Desdemona, Roderigo,  who  in  the  play’s  opening  scenes  are  both  provoked  against Othello  by  Iago.  Desdemona  and  Othello,  therefore,  face  the  usual  challenges of the lovers in a Shakespearean comedy who must contend with the forces of authority, custom, and circumstances allied against their union. The romantic climax comes in the trial scene of act 1, in which Othello success-fully defends himself before the Venetian senate against Brabantio’s charge that  Othello  has  beguiled  his  daughter,  “stol’n  from  me,  and  corrupted  /  By spells and medicines bought of mountebanks.” Calmly and courteously Othello recounts how, despite the differences of age, race, and background, he won Desdemona’s heart by recounting the stories of his exotic life and adventures: “She loved me for the dangers I had passed, / And I loved her that she did pity them.” Wonder at Othello’s heroic adventures and compassion for her sympathy have brought the two opposites together—the young, inexperienced  Venetian  woman  and  the  brave,  experienced  outsider.  Desdemona finally, dramatically appears before the senate to support Othello’s account of their courtship and to balance her obligation to her father and now to her husband based on the claims of love:

My noble father, I do perceive here a divided duty: To you I am bound for life and education; My life and education both do learn me How to respect you; you are the lord of duty; I am hitherto your daughter. But here’s my husband; And so much duty as my mother show’d To you, preferring you before her father, So much I challenge that I may profess Due to the Moor, my lord.

Both Desdemona and Othello defy by their words and gestures the calumnies heaped upon them by Roderigo and Brabantio and vindicate the imperatives of the heart over parental authority and custom. As in a typical Shakespearean comedy, love, tested, triumphs over all opposition.

Vindicated by the duke of Venice and the senate, Othello, accompanied by Desdemona, takes up his military duties in the face of a threatened Turkish invasion, and the lovers are given a triumphal wedding-like procession and marriage ceremony when they disembark on Cyprus. The storm that divides the Venetian fleet also disperses the Turkish threat and clears the way for the lovers’ happy  reunion  and  peaceful  enjoyment  of  their  married  state.  First  Cassio lands to deliver the news of Othello’s marriage and, like the best man, supplies glowing praise for the groom and his bride; next Desdemona, accompanied by Iago and his wife, Emilia, enters but must await news of the fate of Othello’s ship. Finally, Othello arrives giving him the opportunity to renew his marriage vows to Desdemona:

It gives me wonder great as my content To see you here before me. O my soul’s joy, If after every tempest come such calms, May the wind blow till they have wakened death, And let the labouring barque climb hills of seas Olympus-high, and duck again as low As hell’s from heaven. If it were now to die ’Twere now to be most happy, for I fear My soul hath content so absolute That not another comfort like to this Succeeds in unknown fate.

The scene crowns love triumphant. The formerly self-sufficient Othello has now  staked  his  life  to  his  faith  in  Desdemona  and  their  union,  and  she  has  done the same. The fulfillment of the wedding night that should come at the climax of the comedy is relocated to act 2, with the aftermath of the courtship and the wedding now taking  center  stage.  Having triumphantly bested  the  social and natural forces aligned against them, having staked all to the devotion of the other, Desdemona and Othello will not be left to live happily ever after, and the tragedy will grow out of the conditions that made the comedy. Othello, unlike the other Shakespearean comedies, adds three more acts to the romantic drama, shifting from comic affirmation to tragic negation.

Iago  reviews  Othello’s  performance  as  a  lover  by  stating,  “O,  you  are  well tuned now, / But I’ll set down the pegs that make this music.” Iago will now orchestrate discord and disharmony based on a life philosophy totally opposed to the ennobling and selfless concept of love demonstrated by the newlyweds. As Iago asserts to Roderigo, “Virtue? A fig!” Self-interest is all that  matters,  and  love  is  “merely  a lust  of  the  blood  and  a  permission  of  the will.” Othello and Desdemona cannot possibly remain devoted to each other, and, as Iago concludes, “If sanctimony and a frail vow betwixt an err-ing barbarian and a super-subtle Venetian be not too hard for my wits, and all the tribe of hell, thou shalt enjoy her.” The problem of Iago’s motivation to destroy Othello and Desdemona is not that he has too few motives but too many. He offers throughout the play multiple justifi cations for his intrigue: He has been passed over in favor of Cassio; he suspects the Moor and Cassio with his wife, Emilia; he is envious of Cassio’s open nature; and he is desirous of Desdemona himself. No single motive is relied on for long, and the gap  between  cause  and  effect,  between  the  pettiness  of  Iago’s  grudges  and  the monstrousness of his behavior, prompted Samuel Taylor Coleridge in a memorable phrase to characterize Iago’s “motiveless malignity.” There is in Iago a zest for villainy and a delight in destruction, driven more by his hatred and  contempt  for  any  who  oppose  his  conception  of  jungle  law  than  by  a  conventional  naturalistic  explanation  based  on  jealousy  or  envy.  Moreover, Shakespeare, by deliberately clouding the issue of Iago’s motive, finds ever more sinister threats in such a character’s apparently bottomless and unmerited hatred and capacity for evil.

Iago will direct the remainder of the play, constructing Othello’s down-fall out of the flimsiest evidence and playing on the strengths and weaknesses of Othello’s nature and the doubts that erode Othello’s faith in Desdemona. Act 3, one of the wonders of the stage, anatomizes Othello’s psychic descent from  perfect  contentment  in  his  new  wife  to  complete  loathing,  from  a  worldview  in  which  everything  is  as  it  appears  to  one  in  which  nothing  is  as it seems. Iago leads Othello to suspect that love and devotion are shams disguising the basest of animalistic  instincts.  Misled  by  the  handkerchief,  his  love  token  to  Desdemona,  that  Iago  has  planted  in  Cassio’s  room  and  by a partially overheard conversation between Iago and Cassio, Othello, by the end of act 3, forsakes his wife and engages himself in a perverse version of the marriage ceremony of act 2 to Iago. As the pair kneels together, they exchange vows:

Iago: Witness you ever-burning lights above, You elements that clip us round about, Witness that here Iago doth give up The execution of his wit, hands, heart To wronged Othello’s service. Let him command, And to obey shall be in me remorse, What bloody business ever.

Othello: I greet thy love, Not with vain thanks, but with acceptance bounteous, And will upon the instant put thee to’t. Within these three days let me hear thee say That Cassio’s not alive.

Iago: My friend is dead. ’Tis done at your request; but let her live.

Othello: Damn her, lewd minx! O, damn her, damn her! Come, go with me apart. I will withdraw To furnish me with some swift means of death For the fair devil. Now art thou my lieutenant.

Iago: I am your own for ever.

This scene has suggested to some critics that Iago’s true motivation for destroying the marriage of Desdemona and Othello is a repressed homosexual love for Othello. An equal case can be made that Iago here completes his role as Vice, borrowed from the medieval morality plays, sealing the Faustian bargain for Othello’s soul in this mock or black marriage scene.

The play moves relentlessly from here to catastrophe as Othello delivers justice to those he is convinced have wronged him. As he attempts to carry out  his  execution  of  Desdemona,  she  for  the  first  time  realizes  his  charges  against her and his utter delusion. Ignoring her appeals for mercy and avowals of innocence, Othello smothers her moments before Emilia arrives with the proof of  Desdemona’s  innocence  and  Iago’s  villainy.  Othello  must  now  face  the  realization  of  what  he  has  done.  He turns  to  Iago,  who  has  been  brought before him to know the reason for his actions. Iago replies: “Demand me  nothing;  what  you  know,  you  know:  /  From  this  time  forth  I  never  will  speak  word.”  By  Iago’s  exiting  the  stage,  closing  access  to  his  motives,  the  focus remains firmly on Othello, not as Iago’s victim, but as his own. His final speech mixes together the acknowledgment of what he was and what he has become, who he is and how he would like to be remembered:

I have done the state some service, and they know’t. No more of that. I pray you, in your letters, When you shall these unlucky deeds relate, Speak of me as I am. Nothing extenuate, Nor set down aught in malice. Then must you speak Of one that loved not wisely but too well, Of one not easily jealous but, being wrought, Perplexed in the extreme; of one whose hand, Like the base Indian, threw a pearl away Richer than all his tribe.

Consistent with his role as guardian of order in the state, Othello carries out his own execution, by analogy judging his act as a violation reflected by Venice’s savage enemy:

And say besides, that in Aleppo once, Where a malignant and a turban’d Turk Beat a Venetian and tradu’d the state, I took by th’ throat the circumcisèd dog, And smote him—thus.

Othello, likewise, has “tradu’d the state” and has changed from noble and valiant Othello to a beast, with the passion that ennobled him shown as corrosive and demeaning. He carries out his own execution for a violation that threatens social and psychic order. For the onlookers on stage, the final tableau of the dead Desdemona and Othello “poisons sight” and provokes the command to “Let it be hid.” The witnesses on stage cannot compute rationally what has occurred nor why, but the audience has been given a privileged view of the battle between good and evil worked out in the private recesses of a bedroom and a human soul.

Analysis of William Shakespeare’s Plays

Othello Oxford Lecture by Emma Smith

Share this:

Categories: Drama Criticism , Literature

Tags: Analysis Of William Shakespeare’s Othello , Bibliography Of William Shakespeare’s Othello , Character Study Of William Shakespeare’s Othello , Criticism Of William Shakespeare’s Othello , Drama Criticism , ELIZABEHAN POETRY AND PROSE , Essays Of William Shakespeare’s Othello , Literary Criticism , Notes Of William Shakespeare’s Othello , Othello , Othello Analysis , Othello Criticism , Othello Essay , Othello Feminism , Othello Notes , Othello Play , Othello PSychoanalysis , Othello Summary , Plot Of William Shakespeare’s Othello , Simple Analysis Of William Shakespeare’s Othello , Study Guides Of William Shakespeare’s Othello , Summary Of William Shakespeare’s Othello , Synopsis Of William Shakespeare’s Othello , Themes Of William Shakespeare’s Othello , William Shakespeare , William Shakespeare’s Othello

Related Articles

Leave a Reply Cancel reply

You must be logged in to post a comment.

Website navigation

Further Reading: Othello

Altman, Joel B. “ ‘Preposterous Conclusions’: Eros, Enargeia, and the Composition of Othello.” Representations 18 (1987): 129–57.

Shakespeare’s inquiry into the nature of probability and improbability provides the focus of Altman’s essay. While Othello may be “fraught . . . with improbabilities,” in the words of seventeenth-century critic Thomas Rymer, the very process of understanding that makes it seem so is, in Altman’s estimation, the subject of Shakespeare’s questioning throughout the canon. Shakespeare resists the seventeenth century’s tendency to ground both thought and action in a “scientific or moral or aesthetic certainty.” It is in Othello, however, where Shakespeare most strenuously attempts to reveal that the “probable is really nothing more than the contingent.”

Burke, Kenneth. “Othello: An Essay to Illustrate a Method.” In Othello: Critical Essays, ed. Susan Snyder, pp. 127–68. New York and London: Garland, 1988.

Othello performs a “conspiracy,” to use Burke’s term, in which Desdemona, Othello, and Iago are partners. They represent a trinity of ownership: Othello as the possessor, Desdemona as what he possesses, and Iago as the threat to Othello’s miserliness. The loss of the handkerchief is related to the conspiracy, for it is the privacy of Desdemona made public. In his belief that she has bestowed the handkerchief upon another, Othello feels a sense of “universal loss.” The play reveals that “ownership” projected into realms where there is no unquestionable security invites, ultimately, estrangement and profound loneliness.

Cavell, Stanley. “Othello and the Stake of the Other.” In Disowning Knowledge in Six Plays by Shakespeare, pp. 125–42. Cambridge: Cambridge University Press, 1987.

Building on the initial premise that “the pivot of Othello’s interpretation of skepticism is Othello’s placing of a finite woman in the place of God,” Cavell suggests that the tragedy of the play lies in Othello’s refusal to acknowledge Desdemona’s imperfection. Cavell concludes that the consequences of this refusal of knowledge are not only the denial and death of Desdemona but also the failure of Othello’s own capacity to acknowledge, that is, his “imagination of stone.”

Donaldson, Peter. “Liz White’s Othello.” Shakespeare Quarterly 38 (1987): 482–95.

Liz White’s 1980 film of Othello is entirely the work of African-Americans, both the cast and the technical crew. Othello is played as a young, emotionally sensitive African in the midst of lighter-skinned urban African-Americans. The text’s vivid black/white polarities are muted in the film. Because Othello is ethnically akin to the “Venetians,” the tragedy of the last act is especially viable. In rejecting Othello, “the ‘Venetians’ are rejecting a part of themselves.”

Greenblatt, Stephen. “The Improvisation of Power.” In Renaissance Self-Fashioning: From More to Shakespeare, pp. 222–54. Chicago: University of Chicago Press, 1980.

Greenblatt maintains that, in the sixteenth century, there was an increased self-consciousness about the fashioning of a human identity as a manipulable, artful process. In Othello, Greenblatt perceives a pattern of “submission to narrative self-fashioning.” It is Othello’s own subscription to a carefully constructed narrative self that allows his identity to be subverted (if unintentionally) by Desdemona’s submission to it and, in a more sinister vein, by Iago’s role as an improviser in this ceaseless narrative invention.

Grennan, Eamon. “The Women’s Voices in Othello: Speech, Song, Silence.” Shakespeare Quarterly 38 (1987): 275–92.

For Grennan, Othello is not only a play of voices but also a play about voices. He cites the myriad and diverse voices of the play but focuses specifically on the speech of the women, arguing that an understanding of the play’s “moral experience” follows an understanding of the women’s speech. The women, in their speech, songs, and, finally, silence, provide a “moral measure” as a thematic subtext that illuminates the meaning of the tragic action.

Jones, Eldred. Othello’s Countrymen: The African in English Renaissance Drama. London: Oxford University Press, 1965.

Jones undertakes a study of the dramatic representation of Africans on the English Renaissance stage. He finds Othello to make a significant departure from the Renaissance’s traditional dramatic treatment of Moors in that Shakespeare endows Othello with noble qualities. For Jones, the racial prejudice of Iago and Brabantio is invoked specifically so that it can be rejected.

Murray, Timothy. “Othello’s Foul Generic Thoughts and Methods.” In Persons in Groups: Social Behavior as Identity Formation in Medieval and Renaissance Europe, ed. Richard C. Trexler, pp. 67–77. Binghamton, N.Y.: Medieval and Renaissance Texts and Studies, 1985.

Murray shows that patriarchal Elizabethan society feared the theater, for, given the prevailing assumption that women were inclined to imitate, dangerous female identities could be forged if women were exposed to staged vice. The lucidity and logical discourse of Desdemona, then, worked to demystify the exclusive authority of men. Desdemona’s ability to read signs and interpret events implies that maxims about women’s inferiority are “impotent and archaic.” Her self-fashioning and sexual frankness, however, open her up to suspicion within the cultural codes of men and ultimately spell her doom.

Neely, Carol Thomas. “Women and Men in Othello: ‘what should such a fool / Do with so good a woman’.” Shakespeare Studies 10 (1977): 133–58.

Refuting the arguments of “Othello critics” and “Iago critics,” Neely reads the central theme in the play as love and the central conflict of the play as between the men and the women. The women inherit their roles from the heroines of Shakespeare’s comedies, yet despite their lack of competitiveness, jealousy, and class consciousness, they are constrained in the tragedies by the male characters from exercising their traditional roles as mediators. Neely argues that it is Emilia, recognizing and responding to this conflict, who most dramatically and symbolically represents the balance of the play.

Neill, Michael. “Unproper Beds: Race, Adultery, and the Hideous in Othello.” Shakespeare Quarterly 40 (1989): 383–412.

Neill proposes that Othello’ s most potent theatrical image is the bed. The play repeatedly gestures toward it in its absence and, at the end, the bed becomes the “place” where the action is centered. As such, it becomes the “imaginative center of the play”—the focus of Iago’s fantasies, Othello’s speculations, and the audience’s voyeuristic imagination. Because of the conventional symbolic importance attached to the marriage bed, the emphasis on the bed and on its violation in Othello forms the basis for a whole set of ideas about racial adulteration and sexual transgression.

Newman, Karen. “ ‘And wash the Ethiop white’: Femininity and the Monstrous in Othello.” In Shakespeare Reproduced, ed. Jean E. Howard and Marion O’Connor, pp. 143–62. London: Methuen, 1987.

Newman investigates the production of race and gender difference throughout Othello and examines the way the black man and the desiring woman are linked as representatives of the monstrous. Connecting Othello with other Elizabethan representations of blackness and femininity, Newman reads Othello as contesting the conventional ideologies of race and gender in early modern England. In general Newman urges a resistant reading of Shakespeare that contests the “hegemonic forces the plays at the same time affirm.”

Orkin, Martin. “Othello and the ‘Plain Face’ of Racism.” Shakespeare Quarterly 38 (1987): 166–88.

Orkin begins by discussing Renaissance attitudes to people of color in Shakespeare’s England. He moves on to detail instances where racist mythologies inscribed critical responses to the play and ends with a focused examination of how, in South Africa, silence about the racist tendencies of some Othello criticism actually lends support to prevailing racist doctrines. For Orkin, in its scrutiny of Iago’s use of racism and its rejection of pigmentation as an indication of human worth, the play “continues to oppose racism.”

Rosenberg, Marvin. The Masks of Othello: The Search for the Identity of Othello, Iago, and Desdemona by Three Centuries of Actors and Critics. Berkeley and Los Angeles: University of California Press, 1961.

Rosenberg charts the development of character images of Othello, Iago, and Desdemona on the stage and page during the last three centuries, providing an overview of approaches. He further demonstrates how both actors and critics have reshaped the text for performance. He argues against symbolic or skeptical interpretations of the play, claiming its complex humanity can be fully realized only on the stage.

Siemon, James R. “ ‘Nay, that’s not next’: Othello, V.ii in Performance, 1760–1900.” Shakespeare Quarterly 37 (1986): 38–51.

Focusing on the final scene of the play, Siemon uses annotated promptbooks and performance records to explore how variations in staging and performance in the later eighteenth and nineteenth centuries suggest “a coherence of interpretation based on particular notions of both tragedy and femininity.” The constant alterations of and deviations from the Quarto and Folio texts reveal how many implicit and explicit directions had to be ignored to make the final scene conform to the “particular tragic mold” favored by the eighteenth and nineteenth centuries.

Snyder, Susan. The Comic Matrix of Shakespeare’s Tragedies. Princeton: Princeton University Press, 1979.

Snyder proposes that the tragedy of Othello develops from a questioning of comic assumptions about love, nature, and reasoning. By posing Iago against Othello and Desdemona, Shakespeare explores the strains and contradictions within the comic convention and uncovers their deeply tragic implications.

Spivack, Bernard. Shakespeare and the Allegory of Evil. New York: Columbia University Press, 1958.

Focusing on popular dramatic conventions that preceded Elizabethan drama, Spivack traces the figure of Iago and other major villains in the “family of Iago” back to late medieval dramatic traditions. Spivack shows Iago to be a descendant of the late morality figure of Vice. Iago’s malignity is curiously without motive because he is not fully human, but an allegorical representation of evil.

Stallybrass, Peter. “Patriarchal Territories: The Body Enclosed.” In Rewriting the Renaissance: The Discourses of Sexual Difference in Early Modern Europe, eds. Margaret W. Ferguson, Maureen Quilligan, and Nancy J. Vickers, pp. 123–42. Chicago and London: University of Chicago Press, 1986.

Within the dominant discourse of early modern England, women were formulated under contradictory categories: gender or class. As a gender, they were postulated as a single set. As a class, however, inequalities of wealth and birth divided them into distinct social groups. In this context, Othello’s marriage to Desdemona is significant only when differentiations of class are recognized, for Othello marries “above his station” in terms of class. In “acquiring” Desdemona, Othello is a success, but in possessing her he lives with the fear of imminent loss. The openness of Desdemona that allowed Othello successfully to woo her must be, for him, closed off; after marriage, he linguistically moves her from the category of class to the category of gender, making her a figure of inconstancy. Thus the play constructs two Desdemonas and reveals the “antithetical thinking of the developing Renaissance state.”

Stay connected

Find out what’s on, read our latest stories, and learn how you can get involved.

William Shakespeare

Ask litcharts ai: the answer to your questions.

Welcome to the LitCharts study guide on William Shakespeare's Othello . Created by the original team behind SparkNotes, LitCharts are the world's best literature guides.

Othello: Introduction

Othello: plot summary, othello: detailed summary & analysis, othello: themes, othello: quotes, othello: characters, othello: symbols, othello: literary devices, othello: quizzes, othello: theme wheel, brief biography of william shakespeare.

Historical Context of Othello

Other books related to 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

Extra Credit for Othello

Moor or less? In Elizabethan England, the term "Moor" could be used to refer to a wide range of non-European persons, including black Africans, North Africans, Arabs, and even Indians. References to Othello's origins throughout the play are contradictory and ambiguous Iago calls Othello a "Barbary horse" (1.1.110); Barbary was an area in Africa between Egypt and the Atlantic Ocean. Roderigo , however, calls him "thick-lips" (1.1.65-6), suggesting that he may come from further south on the African continent. Brabantio calls him "sooty" (1.2.70); Othello, along with numerous other characters, refers to himself as "black." It is impossible to know now exactly what Shakespeare or his audience would have thought a "Moor" is.

English 102 Isbell Research Paper

• Library Resources

Research Starter, Overview: Othello

Literary criticism, from drama for students.

• Oedipus The King
• A Doll's House
• MLA Documentation This link opens in a new window
• Research & Writing Skills Resources
• Research Starter: Othello
• How to write about Othello From Bloom's Literature.
• Full Overview: Othello Citation: Hartwell, Michael J. "Othello." Shakespearean Criticism, edited by Lawrence J. Trudeau, vol. 166, Gale, 2016. Gale Literature Resource Center, link.gale.com/apps/doc/MBQMGS393987029/GLS?u=avlr&sid=bookmark-GLS&xid=68011d3b. Accessed 8 Apr. 2024.
• Films on Demand: Othello John Kani’s Othello is a fine and masterful performance that should make every white actor think twice before blacking up for the Moor,” wrote The Guardian of this raw and powerful interpretation of the play. The production marked the first time an African actor had been cast in the title role opposite a white Desdemona before a multiracial audience in Johannesburg, South Africa. With Tony Award winner John Kani as Othello, Joanna Weinberg as Desdemona, and a contextual introduction by director Janet Suzman. (187 minutes)
• Gale Literary Criticism: Othello Follow this link to critical articles on "Othello" from Gale Literature.
• Literary Reference Center Plus: Othello Follow this link to critical articles from the Literary Reference Center Plus on "Othello".
• The document includes a detailed plot summary; character analyses; themes; style; historical context; critical overview; and literary criticism.
• Drama for Students: Othello "Othello." Drama for Students, edited by Anne Marie Hacht, vol. 20, Gale, 2005, pp. 136-165. Gale eBooks, link.gale.com/apps/doc/CX3420400019/GVRL?u=avl_jeff&sid=bookmark-GVRL&xid=19690cbe. Accessed 8 Apr. 2024.
• << Previous: Research Project
• Next: Oedipus The King >>
• Last Updated: Apr 8, 2024 8:31 AM
• URL: https://library.jeffersonstate.edu/Eng102-Isbell

Othello - Essay Samples And Topic Ideas For Free

Othello is a tragedy by William Shakespeare, exploring themes of jealousy, betrayal, and racism. Essays on “Othello” could delve into character analyses, thematic explorations, and the play’s historical and social context. They might analyze the play’s treatment of race and the character of Othello as a tragic hero. Discussions could also explore the play’s modern-day relevance, adaptations, and its reflection of, or comment on, the societal norms and racial attitudes of both Shakespeare’s time and today. A substantial compilation of free essay instances related to Othello you can find at PapersOwl Website. You can use our samples for inspiration to write your own essay, research paper, or just to explore a new topic for yourself.

Role and Character of Iago in Othello

In Othello by William Shakespeare, Iago a power hungry ancient drives the plot through his cruel and manipulative ways. In the play Othello and Desdemona are happily married, Othello gives Cassio a promotion to lieutenant, he chooses Cassio over Iago and gives Iago a more trusted and honorable job. Through manipulation Iago is able to bring the downfall of every character he pleases. Iago uses subtle cruelty to manipulate other characters into doing heinous acts which may of otherwise seemed […]

Women’s Role in Othello

Othello presents us with three female leads; Desdemona, Emilia, and Bianca. The way the play is worded implies woman as somewhat slanderous and adulterous and yet in the beginning depicts women mostly as virtuous. All these characters are implied to be whores through the play. During Act 2, Scene 2, Othello’s wife is being referred to as “a maid that paragons description and wild fame” and that “she excels the quirks of blazoning pens”. This states that she is so […]

Iago: the Main Antagonist

In the play Othello by William Shakespeare, the main antagonist Iago guides the audience through his path of deception to justify his revenge towards Othello. As a result of Iago being humiliated and disenfranchised by Othello, he takes from Othello what he values most; the security he feels in Desdemona's untainted love and commitment. Iago justifies his action though: his jealously of Cassio being appointed as lieutenant instead of him, the misconception he has that Othello had sex with his […]

We will write an essay sample crafted to your needs.

Misogyny and Violence in Othello

William Shakespeare's play “Othello” makes it clear that women have been vulnerable to male slander and assault for ages. Othello is a story of domestic abuse and male violence. Male violence remains a tragedy for many girls and women. Many victims of intimate partner violence will recognize their experiences in this play. The terrifying transformation of a beloved into an aggressor, the closing off of escape routes, the urgent assertion of fidelity. The #MeToo movement opens up a new way […]

Othello Manipulation Essay

Manipulation is all around us; we frequently do not notice it because it is hidden very well. Humans manipulate others in order to get their requests, they expect them to reveal their flaws to use it against them. In Othello, Iago demonstrates he is the master of manipulation over all characters who had formerly trusted and confined him. Shakespeare’s Iago effectively showcases how humans can use others weaknesses to serve their demands which causes them to expose their faults. Shakespeare […]

Shakespeare: Obedience and Powerless in Women

In Hamlet and Othello, Shakespeare criticizes the feminine issues that were present in his time, bringing awareness to the standard roles and ideal expectations of women by characterizing them in a space of being obedient and powerless. As women are portrayed as having ideal feminine values such as chastity and passiveness, the frailty of women is also brought to the surface. On the other hand, Shakespeare also seems to be suggesting that internal destruction is generated in the sense that […]

Theme of Jealousy in Iago, Roderigo, and Othello’s Characters

Shakespeare explores the theme of jealousy in Othello through Iago,Roderigo, and Othello. Iago starts off the jealousy theme in Othello when he gets jealous of Cassio. Othello puts Cassio as his 2nd in command while he signed Iago to be his ensign which means third in command. Iago then goes crazy and starts plotting to ruin Othello’s marriage and get Cassio fired. He then starts putting words in Othello’s head and starts to make him question everything. “O, beware, my […]

Racism and Racial Prejudice in Othello

In the book, Othello, by William Shakespeare, we see a big impact of racism and racial prejudice. Othello shows a lot of this and how it gets in the way by restraining love in society. He is a black man who is also a great and successful war soldier. He dedicates himself to serve society's goals by fighting for his country. Even though, Othello is a Moor, he is the most hardworking and the most respected. When it comes to […]

Imbalance of Power between Men and Women

Social imbalance can be termed as the presence of inequality opportunities as well as rewards for different gender statuses and social function within the society. The act of imbalance can be attributed to various important dimensions that involve cultures, employment opportunities as well as earnings. Furthermore, an aspect of inequality much revolves around power which is primarily discussed in this paper. The power imbalance between men and women in areas such as religion not only occur in western and British […]

Deaths of Characters in Othello

How many people die on Othello? Knowing Shakespeare, he kills off a majority of his characters. In Othello alone, eighty-five point seven percent of the roles die in the end. Whether killed by a sword or strangled out of jealousy, there were no justified reasonings for the deaths. Emilia, Desdemona, and Othello all fall blind to the truth and die because of it. Desdemona, one of Shakespeare's more naive and innocent character, was killed by her own husband in the […]

Reasons of Othello’s Tragedy

Othello's tragedy is a product of not just Iago, but himself. Though Iago may appear to be the primary cause of Othello's downfall, based on how manipulative, evil, and deceptive Iago was throughout the story. It can also be said, after having read the story, Othello's own insecurities were the product of his own self demise. A combination of putting trust into Iago due to male pride, his lack of confidence of Desdemona and the perception of infidelity and racial […]

Was Iago a Real Villain?

The Considering Iago as a "Villain" in  the play Othello, the character Iago plays a main role in the destruction of Othello and all of those around him. People could say that Iago's actions are simply a scheming liar and that he is a purely evil character. Others say Iago's talent for understanding and manipulating the desires of those around him that makes him both a powerful and a compelling figure that represent some greater force. We find soon in […]

Description of Othello’s Character

Othello is the main character in the play Othello by William Shakespeare. He is a well-respected African general in the Venice army and is happily married to Desdemona, a white woman. Othello being African already makes him an outsider and highlights racism in Venice. Throughout this play, there are slurs that have been used to describe Othello, "Moor, is an example of one. Even though Shakespeare did not make race the main theme in the play it is a huge […]

Iago’s Jealousy in Othello

William Shakespeare is prolific for his plays of love, revenge, deceit and jealousy. Among his most celebrated plays is the tragedy Othello, in which the themes of jealousy and deceit play a central role. In Othello, one of his most recognized tragedies was revolving around the central theme of jealousy and deceit. The themes of jealousy and deceit go with love. Love consumes all those who take part in it and in Othello’s case, his love for Desdemona has blinded […]

Literary Devices Used Othello

In Othello by William Shakespeare, Othello considers and thinks about all his actions before going through with them. By analyzing his soliloquies, we can understand his thoughts, and his reasons behind his actions. In act 5 scene 2 the first soliloquy Othello contemplated him killing his wife. This monologue gives you an inside scoop of Othello's thinking process because he doesn't want to kill his wife but feels as if he needs to. Othello makes choices that he might not […]

Lies, Revenge and Betrayal in Othello

Lies are extremely common in our society today, with millions of people masking their true intentions. In Shakespeare's play titled Othello, one of the characters, Iago, is no different and in fact the same as those deceptive individuals in society. Behind his act as a trustworthy friend, Iago is a manipulative and deceptive character creating disorder and causing many mishaps to occur. Iago uses many acts of manipulation to undermine every single character's weaknesses to get exactly what he wants, […]

Insanity Within the Plays of William Shakespeare

William Shakespeare in his many plays and other pieces of literature created some of the most well thought out characters of all time. The characters often had reasons for what they did or what they thought, shedding new light on what it meant to actually be “insane”. The characters’ motives were often shown during his stories, Because of that, Shakespeare, through his use of literature and understanding of the human mind, shaped western culture’s perception of insanity from negative feelings […]

Othello as an Ideal Representation of the Tragic Hero

William Shakespeare's Othello is a clear representation of the downfall of a tragic hero. Set in Venice and Cyprus during the 16th century, Othello, a moor, deals with the manipulative actions of a general of the Venetian army, Iago. Due to losing his desired position of being Othello's lieutenant to another solider Cassio, he plots is revenge in deviousness. Othello becomes persuaded by Iago 's rumors, framing, and miscommunications, causing him to kill Desdemona, his believed unfaithful wife. In realization […]

Sexism in Shakespeare’s Play Othello

"In the book, Othello written by Shakespeare, there is a main theme of sexism present throughout the book, Although the book was written in the 1600s, and there have been great decreases in sexism around the world, many of these ideas and scenarios are still present to this day. Sexism is defined as prejudice, stereotyping, or discrimination, typically against women, on the basis of sex. Sexism has been present for centuries, in many different forms, such as wage gaps, gender […]

Power and Control in Othello

In modern society, there are instances where one person has power over another. It is found in professions, school, and everyday life. What is meant by control is having some sort of influence in the way you act, make money, or are seen by others. This in no way means that someone completely owns another person. Power and control of others can be found by lying to others for benefits, men taking a higher role than women, and higher-ranked people […]

Othello Gullible Essay

The start of the Renaissance marked a time of a creative movement that promoted the greatest artists and creators to come forth and produce the best that their minds could think up. One of these artists that today still hold a position of being greatly respected and admired by the public is William Shakespeare. Shakespeare was a poet, writing over 154 sonnets, and a playwright, and in each of the 37 plays, he was able to “capture the complete range […]

With Love, Violence and Vengeance

Through the twisted minds of human nature, love is shown through acts of violence and vengeance committed by mankind. William Shakespeare's, Othello and Homer’s The Odyssey violence and vengeance are portrayed through jealousy, prejudice, justice, and honor. Their roles are woven throughout these books to portray the idea that love is a violent concept. Violence and vengeance can be found in several ways. It can be expressed physically, verbally, and mentally. Othello shows how envy and jealousy can overpower and […]

Importance of Literary Devices in Othello

This passage highlights Iago's character through the use of diction, imagery, irony, and other instances of figurative language. In this exchange, Iago continues to inconspicuously accuse Desdemona of being unfaithful to Othello and accuse Cassio of being disloyal to his superiors. He inserts various remarks at different times to execute this plan. At the end of this echange, Iago has effectively created an unfaithful and untruthful image of Cassio and Desdemona, and planted a seed of jealousy and doubt in […]

A Short Review of the Othello Play

In Act 1 of Othello, we are introduced to Iago and Roderigo. Iago is upset because Othello gave Cassio the position Iago wanted. Iago felt Cassio was not qualified for the position because he had never been in actual situations unlike Iago. The true colors of Iago are shown because this is the first time the audience has been exposed to the deceitful side of Iago. He talks about only following Othello just so he can turn his back on […]

My Attitude to Othello and Iago

Iago the antagonist within Othello written by William Shakespeare. I am so engaged with Iago because I want to secretly be like him. To get away with all the destruction he exerts. I get bored of the good guys always succeeding. He embodies both attraction and repulsion. The character of dramatic irony gropes us into his story and makes me agree that the most effective villain is one that both attracts and repels, which is why a villain is a […]

Characters in the Play Othello

The play Othello written by Shakespeare in the 1600s takes place in Venice, and Cyprus an island in the Mediterranean Sea. Shakespeare’s tale focuses on love, jealousy, and betrayal. Main characters being; Iago, Othello, Desdemona, Cassio, Bianca, and others. While some of these main characters go through some minor and big changes throughout the play. The character Othello undergoes many changes from start to finish, although some of the other characters in this play have a part in the way […]

A True Reason of Othello Demise

The novel Othello is about a General man named Othello and his wife Desdemona, just trying to be a normal couple, but problems occur when Iago starts to stir things up and starts to put lies in Othello's head. Iago starts to stir things up because Iago wanted to get the rank as lieutenant but Othello thought Cassio deserved it more and gave it to him so Iago wants revenge and wants to mess up Othello's relationship with Desdemona. Iago […]

Racism in Othello

Throughout history, men have the tendency to seek power. They may initially intend on pursuing the greater good, but eventually, pride rules out. And according to Cornelius Tacitus, senator of the Roman Empire, “the lust for power, for dominating others, inflames the heart more than any other passion” (Tacitus). This desire that is stained within our human nature gradually instigates tension between individuals and is largely influenced by race. Therefore, while those who triumph usually become centered, those without, get […]

Othello as an Aristotelean Tragedy

Legendary playmakers, such as Aristotle and Sophocles, held an influential position in the history of theatrical performances. In creating works like Oedipus the King, such experts seemingly knew how to intertwine human emotion with the actions of the narrative. This prowess eventually adopted by other artists led to the creation of some of the greatest plays in history. Interestingly, most of these plays entailed a protagonist, covered in splendor and valor throughout the play. The lead character often gained high […]

Prominent Theme in Shakespeare’s Othello

Within the play "Othello, written by William Shakespeare, the main and prominent theme of the play concerns with Othello's primary flaw, his jealousy. Thus, it is evident within the play the term "The Green-Eyed Monster whom Iago refers as jealousy suggests why The role of jealousy within Othello is focused from his delusional jealousy described as "Othello Syndrome, how his jealousy can resonate with readers and the connection with real-life marriages. In Shakespeare's Othello, he introduces the term of the […]

Additional Example Essays

• Compare and Contrast: Hamlet and The Lion King
• Hamlet's Psychoanalytic Analysis
• Hamlet Madness
• Reasons Why Hamlet Is Not Insane
• Romeo and Juliet Film Review
• What is the Theme of Macbeth?
• Medieval Romance "Sir Gawain and the Green Knight"
• Personal Narrative: My Family Genogram
• The Road not Taken Poem Analysis
• Gender Roles in the Great Gatsby
• Comparison Of Introverts VS Extroverts
• The Cask of Amontillado Literary Analysis

How To Write an Essay About Othello

Understanding the play 'othello'.

To write an effective essay about Shakespeare's 'Othello,' it's crucial to have a comprehensive understanding of the play. 'Othello' is a tragedy that explores themes such as jealousy, love, betrayal, and racism. Start by familiarizing yourself with the plot, characters, and Shakespeare's language. It's important to understand the historical and cultural context in which Shakespeare wrote the play. Research the Elizabethan era's attitudes towards race and gender, as these are central themes in 'Othello.' Understanding the play's context and themes will provide a solid foundation for your essay.

Formulating a Thesis Statement

Your essay should be driven by a clear, concise thesis statement. This statement should offer a unique perspective on 'Othello.' You might choose to focus on a character analysis of Othello or Iago, explore the theme of jealousy, or examine the play's treatment of race and ethnicity. Whatever focus you choose, your thesis should guide your analysis and provide a central argument for your essay.

Gathering Evidence from the Play

Once you have your thesis, gather evidence from the play to support your argument. This involves closely reading the text to find relevant quotes, dialogues, and scenes. For example, if you're discussing the theme of betrayal, identify instances in the play where betrayal is evident and examine the consequences of these actions. This evidence will form the backbone of your essay and strengthen your arguments.

Analyzing Shakespeare's Techniques

In your essay, analyze how Shakespeare uses various techniques to convey themes and develop characters. This might include his use of language, imagery, symbolism, and dramatic structure. For instance, explore how Shakespeare uses irony or foreshadowing to enhance the tragic elements of the story. Your analysis should provide insight into how Shakespeare's techniques contribute to the overall meaning and impact of 'Othello.'

Concluding the Essay

Conclude your essay by summarizing the main points of your analysis and restating your thesis. Your conclusion should tie together your analysis and reinforce your overall argument. It's also an opportunity to reflect on the broader significance of 'Othello' in terms of its relevance to contemporary audiences or its place in Shakespeare's body of work.

Reviewing and Refining Your Essay

After writing your essay, review and refine it for clarity and coherence. Check for grammatical and spelling errors, and ensure that your essay flows logically from one point to the next. Consider seeking feedback from peers or instructors to further improve your essay. A well-written essay on 'Othello' should not only demonstrate your understanding of the play but also your ability to engage critically with Shakespeare's work.

1. Tell Us Your Requirements

2. Pick your perfect writer

3. Get Your Paper and Pay

Hi! I'm Amy, your personal assistant!

Don't know where to start? Give me your paper requirements and I connect you to an academic expert.

short deadlines

100% Plagiarism-Free

Certified writers

92 Exceptional Topics for Othello Essay

Shakespeare’s Othello is an extraordinary play that incorporates a huge variety of themes and symbols. You can find examples of allusions and imagery that are intriguing to analyze.That’s why our team prepared this list! Check our topics and choose one to write an outstanding Othello essay.

We suggest you the following ideas:

• Elaborate on religious symbolism. What hell & heaven imagery is present in “Othello”? Explain how Desdemona can be compared to the Virgin Mary; how both Othello and Iago are associated with the Devil. Describe Othello’s “fall from grace.”
• Explore the deception and bending the reality . Who doesn’t lie in the play and why? Who does? Comment on various types of deception that are apparent in “Othello”: from lying out of love to manipulating through trickery.
• Talk about Othello’s weaknesses . What character traits or views do you consider crucial for the plot? How does Iago use Othello’s weaknesses against him? Mention how Othello’s feelings and mood change throughout the play due to his flaws.
• Comment on Iago’s manipulations . Who does Iago control? How and why does he create his web of lies? Add how Iago views himself as a director of his play. Who is hurt due to his lies and actions?
• Examine Emilia’s lines in Act 4, Scene 3. What does she say about marriage and infidelity? Why is her speech about womanhood considered a feminist one? Elaborate on whether such thoughts were common for Shakespeare’s period and why the author decided to include them in the play.
• Compare Desdemona and Bianca. How are the women often contrasted in the play? How does the critical contrast, Desdemona’s virtue vs. Bianca’s sexual freedom, affect men’s attitude towards the respective women? Explore how both characters are more complex than the characteristics above.
• Analyze the topic of redemption in “Othello.” Who found redemption by the end of the play? For whom is it unattainable? Explain the journey of a tragic hero in terms of his downfall and the necessity of redemption.
• Elaborate on Iago’s motivation. Why does he start his play within “Othello”? What motivates him to control, hurt, and even murder other characters? Explain why there are many possible reasons as Iago may hide the whole truth even from the audience.
• Discuss heroism in “Othello.” Whose actions may be considered heroic? Who sincerely tries to act like a hero? Speculate on whether Iago may desire to be viewed as a heroic figure. Does Othello show heroism?
• Talk about Cassio’s character. What do we know about his flaws and strength? Mention his problem with alcohol and attitude towards Bianca. How does the end of the play change his character? Add how this change may be the reason for his happy ending and success.
• Explore the villain of the play. Who can be considered the main antagonist? Comment on a few characters in the play who act as villains, including the main one, Othello.
• Analyze the conflict of passion and love in “Othello.” What does Othello feel towards Desdemona? Which of the emotions prevails? Explain why his actions and words are easy to interpret as passion, while his suicide may prove that he was in love with Desdemona.
• Comment on the central conflict. When does it arise in the plot? Why did Shakespeare introduce the conflict later in the play? Explain how every event from this moment leads to a catastrophe. How is it both natural and staged by the villain?
• Examine the irony in “Othello.” What type of irony is present in the play? For what purposes does Shakespeare use it? Mention how humor adds more value to the characterization and the play’s tone.
• Consider the tone of the play What atmosphere is introduced in Act 1, and how does it change in Act 2? Mention how the stormy weather corresponds to this shift. Comment on the drastic changes in the tone that are apparent by the end of the play.
• Compare “Othello’s” Desdemona to “Hamlet’s” Ophelia. How do these female characters affect the plot of the respective plays? What influence do they and their fates have on the main Othello and Hamlet? Consider both of their tragic stories and their relationships with the main characters.
• Analyze the character of Desdemona. What are her essential qualities? How do men in the play treat her? Explore her disobedience to her father, banter with Iago, and death. Dive into her relationships with Othello and Emilia. How do Desdemona’s character traits and actions make her a perfect woman of the time?
• Discuss gender roles during the Elizabethan period How are male and female roles presented in “Othello”? How does Shakespeare comment on his time? Express what Elizabethan society expected from women and what sins were considered unacceptable.
• Comment on “Othello” as an Aristotelian Tragedy. What is a tragedy, according to this Greek philosopher? Explain how the play satisfies all the qualifications for tragedy as defined by Aristotle.
• Talk about Othello’s gullibility. What makes Othello so naive? Do his straightforwardness and gullibility make him more or less realistic and relatable? You can compare him to such characters as Hamlet, who lack naivety yet suffer through similar tragic events as Othello.
• Elaborate on Desdemona’s and Othello’s relationship. How does it change throughout the play? Explain how Othello’s capability of creating a healthy and loving relationship that we see at the beginning of “Othello” goes against prejudice.
• Explore the theme of racism in “Othello.” What characters have prejudice about Othello due to his race? Express how Othello’s speech and actions during the significant part of the play run contrary to the unreasonable expectations of his enemies.
• Consider Othello’s suicide. What leads Othello to it? Why may an audience respect it and view it as a redemption for a fallen hero? Does suicide strengthen Othello’s heroism? Elaborate on this action in terms of Othello as a tragic hero.
• Compare and contrast “Othello” and “The Blind Owl.” What is the role of women and love in these literary works? Compare the main characters of “Othello” and “The Blind Owl,” comment on the murder and suicide.
• Examine Emilia’s short interaction with Bianca in Act 4. Why is Emilia so harsh towards Bianca and disapproves of everything she says? Does she protect her husband’s deeds, or is she simply biased about Bianca? Comment on misogynistic behavior even among women during the period when the play was written.
• Analyze various symbols from the play. Speculate on the meaning of such objects as wedding sheets from Act 4 Scene 3. What is the significance of a candle from Act 5 Scene 2? Provide a short analysis of each one with examples from the text.
• Elaborate on Brabantio’s character. What’s his attitude towards Othello before he learns about his marriage to Desdemona? Why is he so opposed to this marriage anyway? Comment on Brabantio’s hurt honor and later death.
• Talk about Desdemona’s devotion to her husband . Where does it come from? Do her loyalty and devotion prevent her from understanding Othello’s anger towards her? Speculate why they can’t reach each other at the end of the play and solve their problems by discussing them.
• Consider Iago’s control over Roderigo. How does Iago manipulate Roderigo? Why does Roderigo trust him and obeys up to giving Iago his jewelry? Mention how Roderigo tried to escape the control once, but Iago didn’t let it happen.
• Compare Othello’s and Desdemona’s relationship with that of Iago and Emilia. Which relationship was first to be struck by jealousy? Elaborate on Iago’s control and lack of interest towards Emilia instead of Othello’s devotion to Desdemona. Has Iago ever experienced the same level of jealousy (in his love life) as Othello?
• Discuss the significance of race in the play . Was racism a standard way of thinking when “Othello” was written? Explain how the play reflects the Elizabethan era, its racial prejudice, and its cultural context.
• Comment on Desdemona’s and Emilia’s friendship. Are they close? What do they discuss, particularly in Act 4, Scene 3? Express how Emilia proved her devotion to her mistress in Act 5 Scene 2. Why did Emilia lie to Desdemona about the handkerchief a few scenes before?
• Analyze Iago’s hatred . Who doesn’t Iago hate? Where do his hatred and anger come from? Speculate on his nature and hidden reasons for his negative emotions. Mention the language that he uses and what’s unique about it.
• Talk about Roderigo’s character. What’s his goal? Why does he trust Iago and follow his demand? Elaborate on the moment when he tries to escape Iago’s control and fails. What’s his role in the play?
• Explore animal imagery in “Othello.” Why is Othello constantly compared to animals throughout the play? Provide quotes where Iago calls him “Barbary horse” and so on and explain what it means concerning racism and prejudice.
• Compare two plays: “Othello” and “Oedipus.” What are these tragedies based on? How do “Othello” and “Oedipus” end? Explain the reasons for the downfall of the hero that happens in both plays. What characters tried to prevent such a tragic end?
• Examine Othello’s pride and honor. How are these aspects tied to his race and reputation? Mention how his uselessness during the war could’ve affected his pride and make Othello more susceptible to Iago’s manipulation. How does a thought of Desdemona’s infidelity hurt Othello’s pride?
• Compare Othello’s and Bianca’s jealous behavior. Who takes the possibility of their lover’s infidelity better? Summarize their reasons for jealousy and their actions after gaining such a suspicion. Why is it intriguing that Bianca trusts her love interest more than Othello does?
• Consider Othello as the outsider . When do we find out that he doesn’t belong to the community? Mention how it’s uncommon for tragic heroes to be an outcast from the start of the play. How does Iago use it against Othello? How does his status as an outsider contribute to his downfall?
• Discuss Iago’s misogyny. What does he say about women? How does he treat women in the play, particularly his wife? Analyze his banter with Desdemona in Act 2, Scene 1, and his point of view.
• Talk about Desdemona’s independence from her father. Why does Desdemona decide to disobey Brabantio’s will and elope with Othello? Was it common for the time? Explain how Desdemona both showed her independence and immediately became obedient to another man.
• Compare the treatment of women in “Othello” and “Oedipus.” How did Shakespeare and Sophocles describe women in their plays? What role do these characters play in the stories? Analyze how men treat and talk about women in the plays. How does it reflect the period when “Othello” and “Oedipus” were written?
• Elaborate on Emilia’s assistance to Iago. Why does she help him in obtaining Desdemona’s handkerchief? Did she know anything about Iago’s plan? Express how Emilia tried to gain her husband’s approval covering his deeds. Why does she betray him in Act 5 Scene 2?
• Compare two movie adaptations of the play. Find two films based on “Othello” and analyze the alternations from the play in each of them. Which movie is more accurate to the source material? Which one do you prefer?
• Comment on Iago’s control over Othello. Why does Othello believe him more than Desdemona or any other character in the play? Did Iago do anything to gain this trust? Explain how Iago uses language to make Othello blind to his manipulations.
• Explore the theme of jealousy Who suffers from jealousy in the play? Elaborate on various types of jealousy presented in “Othello” (professional and personal) and how characters deal with this emotion.
• Analyze Othello’s changes throughout the play. What traits and behavior does he obtain and why? Does he become more himself by the end of the play than he was before, or it’s the opposite? Add a few examples of more animalistic behavior that Othello showed. Why did its features escalate and then disappear during Act 5 Scene 2?
• Discuss Iago’s plan. When does Iago come up with an idea? Who helps him? Add a couple of sentences about Iago’s motivation and his enjoyment that comes from manipulating people around him.
• Compare and contrast Othello and Oedipus Rex . What character traits do they have in common? What features of their respective journeys do they share? Elaborate on each person and their stories, analyzing the challenges that they face.
• Examine “Othello” in Shakespearean Theater. How did theatres look like when “Othello” was written? Could actors propose ideas and changes during the repetitions of a play? Express how “Othello” was initially performed and what these early performances looked like. When was it published?
• Explore the relationship between Othello and Cassio. Was their friendship strong before Iago’s web of lies? Why was it easy for Othello to believe that Cassio had an affair with Desdemona? Explain how their relationship changed throughout the play.
• Talk about murders in “Othello.” Why did Othello and Iago kill their respective wives? Why did Iago decide to kill Roderigo? Speculate on what causes murders in the play and how it’s connected to the themes of the play. Why did Cassio, whose death was planned by Iago early in “Othello,” survived?
• Analyze Tim Nelson’s 2001 movie “O.” How did the director adapt the play? How did the change of the setting affect “Othello”? Explain why this play is cinematically adaptable. How did Tim Nelson change the characters?
• Comment on the language of the play. What does the way Othello speaks say about him? How is the power of words highlighted in the play? Explain how Iago uses ambiguous and deceptive language to manipulate other characters.
• Examine Othello’s misogyny. What words and actions indicate that sexism has an impact on Othello’s worldview? How does he treat women around him? Mention how quickly he believes that Desdemona cheats on him, even though he doesn’t see any “ocular proof.”
• Elaborate on the way Iago changed by the end of the play. What causes changes in his behavior? Does he become eviler and more himself? Explain how he started from verbal manipulation and ended with murdering two people. Why did he get caught?
• Talk about possible interpretations of “Othello.” How may a person analyze Shakespeare’s works? How have interpretations of “Othello” changed over the years? Comment on the power of historical context.
• Explore the meaning behind the handkerchief. What’s its role in the play? What does this object symbolize? Express how it has a different meaning for every character: Desdemona considers it a symbol of love, while Othello starts to see it as a symbol of betrayal. Add how the handkerchief’s meaning changes.
• Express how “Othello” is experienced by a reader . Given that this is a play primarily performed on stage rather than written analyze it as a text. Are stage directions clear? What’s the focus of each scene? What catches your attention?
• Compare an Elizabethan audience’s reaction to “Othello” with today’s reception. How was the play perceived during Shakespeare’s time? Why do critics find more and more flaws in “Othello” over the years? Mention the role of historical context and how Shakespeare used classical references to entertain his audience.
• Analyze Othello’s character traits. What are his essential qualities? What traits are obtained (or revealed) due to Iago’s manipulations?
• Speculate on the moral of the story . What did Shakespeare want to say? Was it a lesson about jealousy and trust? Or did he try to show how a person can ruin a perfect life via his actions? Analyze all the possible explanations about the moral of the play. What’s Shakespeare’s comment on deception?
• Examine Iago’s jealousy. What’s Iago jealous about? Who is he jealous of? List and analyze all his professional and personal reasons to be jealous of Othello and Cassio. Does he explain them to the audience?
• Shakespeare’s influence on the Renaissance period . How does “Othello” represent this period? What common motifs for the Renaissance did Shakespeare develop in the play? Comment on the author’s contributions to the time via “Othello.”
• Discuss Giuseppe Verdi’s opera “Othello.” What changes did Verdi make in his opera? Why did he exclude Act 1 of the play? Add data about first performances and Verdi’s demands concerning the leading singers.
• Elaborate on the Willow song. Where does it appear? Why does Desdemona recall it? Speculate period what this song may symbolize and mention circumstances that forced Emilia to recite it in Act 5 Scene 2.
• Compare the play with its movie adaptation. How did the director of the film modify “Othello”? Is this play cinematically adaptable? Elaborate on changes in the movie and the director’s goal (whether it was adapting the story to fit another period or making it more accurate and close to the text).
• Explore the setting of “Othello.” Where do the events take place? How did the historical context affect the choice of scenery? Mention the details that highlight differences between Cyprus and Venice. What influence does the change of location have on the characters?
• Talk about Othello’s leadership skills . Do we see them in the play? How did these skills help Othello in gaining his reputation? Elaborate on Othello as a leader according to Machiavelli’s ideas.
• Comment on the theme of family. Who keeps in contact with their family in “Othello”? Who has a strong emotional connection to their roots? Elaborate on the relationship between Desdemona and her father.
• Consider Shakespeare’s impact on theatre . Was the social influence theme unusual for the theatre of his time period? What was new about the play for this era? Explain what themes and contemporary tone theatre borrowed from “Othello.”
• Examine Othello’s soliloquy in Act 5 Scene 2. What does it explain to the audience about his character? Does it count as a part of his redemption? Comment on the lines that convey Othello’s intelligence and racism. Can it be considered a suicide note?
• Compare Othello and Leontes from “The Winter’s Tale.” What traits do the characters have in common? What similar issues and conflicts do they face? Elaborate on the different ways that characters chose to solve their problems.
• Talk about Emilia. What role does she play in “Othello”? Does she change throughout the play? Explain why she helps her husband during the significant part of the play but then betrays him, revealing his plan to the characters around. Analyze the moments when she decides to keep silent or talk during the events of the play.
• Compare Othello’s jealousy to Iago’s one. What are the key differences? What is the foundation for their jealousy? Analyze the roots of the jealous behavior of Othello and Iago. How do they deal with this feeling?
• Elaborate on the point of view. What’s intriguing in watching or reading the play from Iago’s point of view? Why does Iago talk to an audience? Explain how the villain makes the listeners or readers his accomplices.
• Comment on Othello’s emotions . Analyze his feelings throughout the play. Explain how he’s eager to follow his emotions and base his decisions on them. How does it affect his journey?
• Explore the banter in Act 2, Scene 1. What do Iago and Desdemona argue about? Is it a serious discussion? Comment on each point of view and how Desdemona doesn’t take Iago’s words seriously.
• Examine the theme of betrayal. Why is loyalty presented as both a curse and virtue? Who uses it to their advantage, and who suffers from it? Express how Iago uses the fear of betrayal against Othello. How does the handkerchief start to symbolize betrayal to Othello?
• Analyze violence in “Othello.” Who acts violently in the play? How do characters fight and commit murder? Elaborate on Othello’s and Iago’s cruelty that they demonstrate in Act 5.
• Consider one of Iago’s monologues. Elaborate on the purpose of him explaining his plans and motivation. Does he tell only the truth or hide something even from the audience? Are there moments when he gains sympathy from the listeners?
• Discuss Iago’s moral grounds . Does he have any? Or is he inherently evil? Analyze his evil actions and schemes, providing examples from the play. Does he have a line that he can’t cross?
• Elaborate on the appearance vs. reality theme. How does Iago hide the reality of things from almost every character? Who is too straightforward and naive to suspect Iago? Mention how characters are blind to Iago’s lies up to the last scene of the play, when Emilia understands everything and reveals Iago’s plan.
• Talk about Desdemona’s death. How did she die? Did she suspect that Othello may want to murder her? Analyze Desdemona’s last attempt to protect her husband, claiming that he’s innocent, and she committed suicide. Does it make her a perfect wife for that time?
• Speculate on Othello’s transformation from a hero to a villain . What unique features does his journey demonstrate? What does Othello’s path have in common with Macbeth’s one? Elaborate on the role of fear and hope in Othello’s story. Did he redeem himself in the end?
• Comment on the passage of time. How many days does the play take? Why are there inconsistencies? Examine various theories about the duration of action and scenes where time could’ve elapsed.
• Explore Cassio’s misogyny. How does he treat his girlfriend to her face and behind her back? Analyze his dialogue with Iago in Act 4, where they talk about Bianca. Why does he act more attentive around Desdemona?
• Elaborate on the minor characters . Who are the critical minor characters? What role do they play in the plot progression? Briefly explain why they are vital for the story, as minor characters help us see the action from the inside, determine the path of the tragic hero, and develop the world of “Othello.”
• Examine the character of Iago . What are his crucial character traits? What role does he play in “Othello”? How does he affect other characters? Explain his motivation and his actions in the play. Why does he have a few soliloquies?
• Discuss the theme of love. How does love affect the characters of the play? Who suffers from love? Explain how “Othello” explores both platonic and romantic love; how love is often mistaken for other feelings.
• Consider the significance of evidence in “Othello.” How does the play demonstrate the significance of “ocular proof”? Explain how “Othello” can be helpful for policemen, lawyers, and other people who deal with evidence regularly.
• Analyze the clown scenes (Act 3, Scenes 1 and 4). Why did Shakespeare introduce the clown? What role does it play in the play? Elaborate on why “Othello” needs comic relief and a moment to take a breath.

Thanks for checking our topics out! We hope now you’re ready to write your Othello essay. For more information, consider other articles about the play below or try our topic generator .

• Share to Facebook
• Share to Twitter
• Share to LinkedIn
• Share to email

Study Guide Menu

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

IvyPanda. (2024, May 21). 92 Exceptional Topics for Othello Essay. https://ivypanda.com/lit/othello-study-guide/topics-for-essay/

"92 Exceptional Topics for Othello Essay." IvyPanda , 21 May 2024, ivypanda.com/lit/othello-study-guide/topics-for-essay/.

IvyPanda . (2024) '92 Exceptional Topics for Othello Essay'. 21 May.

IvyPanda . 2024. "92 Exceptional Topics for Othello Essay." May 21, 2024. https://ivypanda.com/lit/othello-study-guide/topics-for-essay/.

1. IvyPanda . "92 Exceptional Topics for Othello Essay." May 21, 2024. https://ivypanda.com/lit/othello-study-guide/topics-for-essay/.

Bibliography

IvyPanda . "92 Exceptional Topics for Othello Essay." May 21, 2024. https://ivypanda.com/lit/othello-study-guide/topics-for-essay/.