othello shakespeare essay

A Summary and Analysis of William Shakespeare’s Othello

By Dr Oliver Tearle (Loughborough University)

Othello is one of Shakespeare’s five best-known and widely studied tragedies, along with Hamlet , Macbeth , King Lear , and Romeo and Juliet . But as is so often with a well-known text, we don’t know this one nearly as well as we think we do: Othello has more in it than jealousy, the ‘green-eyed monster’, and (implied) racial hatred.

These themes are central to the play’s power, but one of the triumphs of Othello , as the analysis below attempts to demonstrate, is how well Shakespeare weaves different themes and elements together at once. Before we analyse some of these themes, it might be worth recapping the plot of this great tragedy which has inspired everything from opera (Verdi’s Otello ) to a rock musical ( Catch My Soul , from the 1960s).

Othello : plot summary

The main action of the play takes place in Venice, as the play’s subtitle, The Moor of Venice , makes clear. Iago is ensign or flag-bearer to the great military general, Othello, who is a Moor (i.e. a north African Muslim). Iago expects to be promoted to the rank of lieutenant, but instead Othello passes him over in favour of Cassio. For this reason (at least he claims), Iago declares that he hates Othello and will wreak vengeance on both Othello and Cassio.

His first plot is to try to prevent Othello’s marriage to Desdemona, the beautiful daughter of Brabantio, by telling Brabantio that Othello and Desdemona have already slept together even though they are not married. Brabantio summons Othello before the court, but Othello convinces him that he and Desdemona have not yet lain together, and the two of them are married.

Next, in Cyprus on a military campaign, Iago gets Cassio drunk and arranges a brawl, which he makes sure Othello witnesses; Othello has to strip the recently promoted Cassio of his commission. Iago then sets about convincing Othello that Cassio is having an affair with Desdemona; he tells Cassio to ask Desdemona to put in a good word for him with Othello so he might get his commission back (but with the result that Othello questions why his wife would want to plead for Cassio).

Iago, having got hold of a handkerchief of Desdemona’s, which she’d lost (a gift from Othello), hatches a plan to make Othello think his wife has been sleeping with Cassio. He hides the handkerchief in Cassio’s bedchamber and then tells Othello that Cassio has it.

When Othello asks Desdemona where her handkerchief is, she confesses that she has lost it; meanwhile, Cassio gives it to Bianca, his mistress, little realising that the handkerchief is part of Iago’s grand plan to implicate him in an imaginary affair.

Iago’s plan works, and Othello is convinced that there is something going on between Cassio and Desdemona. He tells Iago to kill Cassio, and he publicly strikes Desdemona, accusing her in front of everyone. Iago then tells Roderigo to kill Cassio, but Roderigo fails, so Iago kills him so nobody will find out about the plan.

Othello, consumed with jealousy, smothers Desdemona to death with a pillow, Emilia (Iago’s wife and Desdemona’s maid) tells Othello that she was the one who found the handkerchief and gave it to her husband; Iago kills her for revealing this, and Othello wounds Iago. Realising he has thrown away the life of an innocent woman he loved dearly, Othello kills himself publicly, Cassio is made governor of Cyprus, and Iago is taken off for punishment.

Othello : analysis

Othello is a play about sexual jealousy, and how one man can convince another man, who loves his wife dearly, that she has been unfaithful to him when she hasn’t. But Shakespeare does several very interesting, and artistically quite bold, things with this basic plot, and the characters he uses to tell the story.

First, he makes his hero noble, but unusually flawed. All heroes have a tragic flaw, of course: Macbeth’s is his ‘vaulting ambition’ , Hamlet’s is his habit of delaying or over-analysing (although the extent to which he actually delays can be questioned ), and so on. But Othello’s tragic flaw, his pride, is not simply noble or military pride concerned with doing the right thing (as a great military man might be expected to have), but a rather self-serving and self-regarding kind – indeed, self-regarding to the point of being self-destructive.

He is willing to believe his innocent wife has been unfaithful to him even though he is, to all intents and purposes, devoted to her. This makes him a more interesting tragic hero, in some ways, because he isn’t a spotless hero with one major blind spot: his blind spot is, in a sense, everyone else but himself.

Second, Shakespeare doesn’t make Iago, the villain, someone whose motives we can understand. Indeed, he goes out of his way to make Iago as inscrutable as possible. If the first rule of creative writing class is ‘show don’t tell’, the second or third rule may well be ‘make your characters’ motivations clear’.

Yet Shakespeare puts into Iago’s mouth several plausible ‘motives’ for wreaking the confusion and chaos that causes Othello’s downfall and Desdemona’s death, and in providing multiple motives, Iago emerges as ‘motiveless’, to use Coleridge’s famous description (Coleridge described Iago as being possessed of ‘ motiveless malignity ’). We cannot be sure why he is doing what he is doing.

But this does not mean that he is not being driven by anything. In Shakespeare’s source material for the play, a novella by the Italian author Cinthio, Iago is straightforwardly evil and devilish, intent on destroying Othello’s life, and with a clear motive. But Shakespeare’s Iago is more dangerous still: a human, with clearly human attributes and intellect, who nevertheless derives great pleasure from causing harm to others purely because … well, because it gives him pleasure.

Part of the genius of Shakespeare’s characterisation of Iago is that he makes him a convincing ensign to Othello, a loyal servant to the Moorish warrior, even while he is plotting Othello’s downfall. He is a villain, but a charming two-faced one. In Harold Goddard’s fine phrase, he is ‘a moral pyromaniac setting fire to all of reality’ (this phrase is quoted enthusiastically by Harold Bloom in his Shakespeare: The Invention Of The Human ).

Othello is also unlike many of Shakespeare’s other great tragedies, with the possible exception of Romeo and Juliet , in that its plot could easily have been co-opted for a comedy rather than a tragedy, where the confusion created by Iago’s plotting is resolved, the villain is punished, and the hero and heroine are reconciled to live happily ever after.

Compare, in this connection, Iago’s role in Othello with that of the villainous Don John in the earlier comedy, Much Ado about Nothing (a play we have analysed here ). Like Iago, Don John wants to wreck the (upcoming) marriage between Claudio and Hero, and sets about convincing Claudio that his bride-to-be cannot be trusted.

But in Much Ado , Hero’s fidelity is proved and Don John’s villainy is exposed, and we have a comedy. Much of Othello proceeds like a comedy that takes a very dark turn at the end, when it becomes apparent that Othello will not be reconciled with Desdemona, and that the sexual jealousy and suspicion he has been made to feel are too deep-rooted to be wiped out.

The whole thing is really, of course, Iago’s play, as many critics have observed: if Othello is the tragic lead in the drama, Iago is the stage-manager, director, and dramatist all wrapped up in one. Writers from Dickens to George R. R. Martin have often sorrowfully or gleefully talked of ‘killing off’ their own characters for the amusement of others; Iago wishes to ruin Othello’s marriage for his own amusement or, in Hazlitt’s phrase, ‘stabs men in the dark to prevent ennui ’.

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2 thoughts on “A Summary and Analysis of William Shakespeare’s Othello”

The racial issue is of paramount importance in this play. The only characters whose view of Othello is not distorted by racial stereotyping are Desdemona and Cassio. Desdemona’s dying words are an attempt to exculpate her husband, and Cassio’s first reaction on learning that he has been crippled thanks to Othello’s jealous suspicions is to exclaim “Dear General, I never gave you cause!” I find no evidence that Othello is a Muslim. We’re told that he was sold into slavery in his childhood; presumably he was raised as a Christian. The “Colour” issue would have been evident in the original performances, since the Moor would certainly have been played in blackface.

I had the great good fortune to see the 2007 production of Othello put on at the Donmar Warehouse with Chiwetel Ejiofor in the title role. It was a wonderful experience…

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William Shakespeare

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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.

by William Shakespeare

Othello study guide.

The plot of Shakespeare's Othello is largely taken from Giraldi Cinthio's Gli Hecatommithi , a tale of love, jealousy, and betrayal; however, the characters, themes, and attitudes of the two works are vastly different, with Shakespeare's play being a more involved study of human nature and psychology. One of the major deviations from the source, is the motivation of the Iago figure. Cithio's Iago was driven to revenge when Desdemona refused to have an affair with him; Iago's motivations are not nearly so plain in Shakespeare's version.

Othello also touches upon a major issue in Europe of this time period; the intermingling of Muslim religion and culture with the West. Written just a century after the Muslims were driven out of Spain as a part of the Reconquista , there are obvious threads of hostility within the play about Othello's Moorish origins, and his differences in religion and culture. The hostility between the West and the East is also shown in the conflict between Venice and the Turks; the Christian Venetians want to protect Christendom from the influence of the Muslim Turks, and ironically, Moorish Othello is the one sent to complete this mission.

Othello is considered to be a prime example of Aristotelian drama; it focuses upon a very small cast of characters, one of the smallest seen in Shakespeare's body of work, has few distractions from the main plot arc, and concentrates on just a few central themes. As such, it is one of the most intense and focused plays Shakespeare wrote, and has also enjoyed a great amount of popularity from the Jacobean period to the present day.

The character of Iago is a variation on the Vice figure found in earlier morality plays; he deviates from this model because of his lack of a clear motivation, and because of his portrayal as a very malignant figure. However, Iago is less of a character than a changeable device for the plot, and in this sense, he is a clear descendant of the omnipresent "vice" figure. Iago's great cunning, manipulative abilities, and almost supernatural perception mean that he is a very formidable foe, and this makes Othello's fall seem even more inevitable and tragic.

One reason for the overwhelming popularity of the play throughout the ages is that it focuses on two people who defied society in order to follow their own hearts. Shakespeare scholar Walter Cohen cites the popularity of Othello during times of great rebellion and upheaval; the play was most popular during the European wars of the mid-19th century, the fall of Czarist Russia, and also during World War II in America. These productions tended to emphasize the nobility and love of Othello and Desdemona, and made their fall seem more tragic and ill-deserved.

Taken from The Norton Shakespeare, introduction to Othello by Walter Cohen.

Othello Questions and Answers

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

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

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

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

What is your question here?

why does othello ignore the cries for help?

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

Study Guide for Othello

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

• About Othello
• Othello Summary
• Othello Video
• Character List

Essays for Othello

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

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

Lesson Plan for Othello

• About the Author
• Study Objectives
• Common Core Standards
• Introduction to Othello
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
• Related Links
• Othello Bibliography

E-Text of Othello

Othello e-text contains the full text of Othello by William Shakespeare.

• List of Characters

Wikipedia Entries for Othello

• Introduction
• Date and sources
• Themes and critical approaches

Home — Essay Samples — Literature — Plays — Othello

Essays on Othello

🎭💔✍️ othello essay: dive into the drama.

Othello, the magnificent Shakespearean tragedy, is like a rollercoaster ride of emotions! 😱💔 Exploring this timeless masterpiece in an essay can unlock a world of insights and ignite your imagination 🔥. By delving into the depths of Othello's themes, characters, and plot twists, you can unravel the complexities of human nature and society. It's an opportunity to showcase your analytical skills and showcase your love for literature. So, buckle up and embark on an Othello essay adventure!

Othello Essay Topics 📝

Othello argumentative essay 🤔💬.

An argumentative essay on Othello requires you to take a stance and defend it with solid evidence from the play. Some intriguing topics to consider:

• Is Othello a victim of racism or his own insecurities?
• Did Iago's evil nature drive Othello to his tragic downfall?
• Should Desdemona be held responsible for her fate?

Othello Cause and Effect Essay 🌪️🤯

In a cause and effect essay, you'll explore the ripple effects of certain actions or events in Othello. Here are some captivating topics to ponder:

• The consequences of Iago's manipulation on Othello's relationships.
• How jealousy leads to destruction in Othello's world.
• The impact of societal norms on Othello's tragic fate.

Othello Opinion Essay 🗣️😮

Opinion essays allow you to express your personal viewpoint on specific aspects of Othello. Here are some thought-provoking topics to spark your imagination:

• Is Othello's jealousy justified or exaggerated?
• Should Othello have trusted Desdemona despite the rumors?
• What role does gender play in the tragedy of Othello?

Othello Informative Essay 📚📖

Informative essays aim to educate readers about various aspects of Othello. Here are some enlightening topics to enlighten your audience:

• The historical context of Othello: Shakespeare's portrayal of race and society.
• The symbolism of the handkerchief in Othello and its significance.
• The evolution of Othello's character throughout the play.

Othello Essay Example 📑

Othello thesis statement examples 📜💡.

Here are a few thesis statement examples to inspire your Othello essay:

• Thesis: Othello's tragic downfall is a result of his vulnerability to manipulation by Iago due to his insecurities about his race and age.
• Thesis: The handkerchief symbolizes trust, fidelity, and betrayal in Othello, highlighting the fragility of relationships.
• Thesis: Othello's jealousy is fueled by societal expectations and gender roles, leading to the tragedy that unfolds.

Othello Essay Introduction Examples 🌟

Here are some introduction paragraph examples for your Othello essay:

• Introduction: Othello, a play filled with love, deception, and revenge...
• Introduction: In the realm of Shakespearean tragedies, Othello stands as a poignant exploration of love, jealousy, and the destructive power of manipulation. As we venture into the depths of this timeless masterpiece, we are transported to a world where trust is fragile, and motives are concealed. Othello's journey, from a celebrated Moorish general to a tragic figure consumed by jealousy, invites us to contemplate the complexities of human emotion and the consequences of unchecked suspicion.
• Introduction: Othello, the Moor of Venice, is a character whose name echoes through the annals of literary history. In our exploration of Othello's tragic tale, we confront issues of race, trust, and the corrosive force of jealousy. As we delve into this gripping narrative, we are challenged to dissect the motives of its characters and the underlying themes that continue to resonate in today's society.

Othello Essay Conclusion Examples 🔚📝

Here are some conclusion paragraph examples for your Othello essay:

• Conclusion: As we bid farewell to the tragic world of Othello, we are left with a profound exploration of human nature, jealousy, and the consequences of deceit. Shakespeare's timeless masterpiece continues to captivate and haunt our hearts, reminding us of the enduring power of storytelling.
• Conclusion: In the final act of Othello, we witness the devastating aftermath of jealousy and manipulation. The tragic downfall of Othello, Desdemona, and others serves as a cautionary tale, reminding us of the destructive potential of unchecked emotions. As we bid farewell to this tale of love and betrayal, let us carry forward the lessons learned from the characters' fates, recognizing the enduring relevance of Shakespeare's exploration of the human condition.
• Conclusion: Othello, a masterpiece of tragedy, leaves an indelible mark on our understanding of human nature. Through the twists and turns of its plot, we are confronted with the consequences of jealousy and deceit. As our journey through this timeless work comes to a close, let us reflect on the enduring power of literature to illuminate the complexities of the human soul and the fragility of trust.

Examples of Manipulation in Othello

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Othello Fatal Flaw Analysis

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Othello: Desdemona as a Representation of Power and Possession

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The Power of Jealousy in Shakespeare’s Othello

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1603, William Shakespeare

Play; Tragedy

Othello, Desdemona, Iago, Michael Cassio, Emilia, Roderigo, Bianca, Brabanzio, Duke of Venice, Montano, Lodovico, Graziano, Clown

The play is primarily based on a story from an Italian novella called "Un Capitano Moro" by Cinthio. Shakespeare took inspiration from this source material and adapted it into his own version, adding depth and complexity to the characters and exploring themes of jealousy, betrayal, and manipulation.

In the tragic play "Othello" by William Shakespeare , the story follows the powerful and respected Moorish general, Othello. Othello secretly marries Desdemona, a Venetian woman, despite objections from her father, Brabantio. Othello's ensign, Iago, harboring deep resentment and jealousy, manipulates events to destroy Othello's life. Iago plants seeds of doubt in Othello's mind, insinuating that Desdemona has been unfaithful to him with his lieutenant, Cassio. Consumed by jealousy, Othello becomes increasingly suspicious and tormented by his thoughts. Iago's cunning manipulations lead Othello to believe in the alleged affair, pushing him into a spiral of rage and despair. Othello's doubts intensify, leading him to confront Desdemona and ultimately strangle her in a fit of madness. Upon discovering the truth and Iago's treachery, Othello takes his own life in a moment of devastating realization. The play concludes with Iago's exposure and punishment for his deceitful actions.

The play "Othello" by William Shakespeare is set in the late 16th century, primarily in the city of Venice and later on the island of Cyprus. Venice, a vibrant and cosmopolitan city, serves as the initial backdrop for the story. Its opulent palaces, canals, and bustling streets create an atmosphere of grandeur and sophistication. The Venetian setting reflects the cultural diversity of the time, with characters from various backgrounds and ethnicities. As the plot progresses, the setting shifts to the island of Cyprus, where Othello is stationed with his troops. Cyprus offers a contrasting environment to Venice, characterized by its remote and isolated nature. The island's rugged landscape and military camp create a tense and confined atmosphere, amplifying the dramatic events that unfold. Both settings play a significant role in the play's themes and conflicts. Venice represents the veneer of civilization and societal expectations, while Cyprus represents the raw emotions, passions, and darker aspects of human nature. The contrasting settings highlight the clash between appearances and reality, order and chaos, and ultimately contribute to the tragedy that unfolds in "Othello."

1. Jealousy and Betrayal: The theme of jealousy lies at the heart of the play, as Iago manipulates Othello's trust and fuels his insecurities, leading to tragic consequences. Betrayal is also explored as characters deceive one another for personal gain, highlighting the destructive power of envy and deceit. 2. Racism and Prejudice: Othello, a Moorish general, faces discrimination and racial prejudice throughout the play. Shakespeare examines the destructive effects of racism, as Othello's character is systematically undermined and ultimately destroyed by the racist assumptions and stereotypes held by others. 3. Appearance versus Reality: The theme of appearance versus reality is prevalent as characters wear masks of virtue and honesty while concealing their true intentions. Othello's tragic downfall is a result of his inability to discern truth from falsehood, emphasizing the dangers of misjudgment and manipulation. 4. Love and Obsession: The play explores various forms of love, from passionate romance to obsessive possessiveness. The intense love between Othello and Desdemona is contrasted with Iago's twisted obsession with destroying their happiness, shedding light on the complexities of human relationships. 5. Gender and Power: Shakespeare examines gender dynamics and the societal expectations placed upon women. Desdemona's character challenges traditional gender roles, while Emilia, Iago's wife, highlights the subjugation of women and the consequences of male dominance.

1. Imagery: Shakespeare skillfully uses vivid imagery to create powerful visual and sensory impressions. For example, in Act 1, Scene 1, Iago describes Othello and Desdemona's elopement as "an old black ram / Is tupping your white ewe," employing the contrasting images of a black ram and a white ewe to convey the scandalous nature of their relationship. 2. Soliloquy: Soliloquies allow characters to express their inner thoughts and feelings to the audience. One notable example is Othello's soliloquy in Act 5, Scene 2, where he reflects on his decision to kill Desdemona, saying, "It is the cause, it is the cause, my soul," revealing his internal struggle and justifying his actions. 3. Foreshadowing: Shakespeare employs foreshadowing to hint at future events and build tension. In Act 3, Scene 3, Desdemona tells Othello, "The heavens forbid / But that our loves and comforts should increase / Even as our days do grow," foreshadowing the impending tragedy and the deterioration of their relationship. 4. Irony: Irony is used to create a contrast between what is expected and what actually occurs. For instance, when Iago says, "I am not what I am," in Act 1, Scene 1, it is an ironic statement, as he presents himself as trustworthy while plotting Othello's downfall. 5. Symbolism: Shakespeare employs symbolism to convey deeper meanings. The handkerchief, a symbol of fidelity, becomes a significant object in the play. Its loss and subsequent manipulation by Iago symbolize the erosion of trust and the unraveling of Othello's marriage.

In 1995, director Oliver Parker released a film adaptation of "Othello" starring Laurence Fishburne as the titular character. Fishburne's portrayal emphasized Othello's dignity and inner conflict, earning critical acclaim. Another notable film adaptation is Orson Welles' 1952 version, where Welles himself took on the role of Othello, showcasing his powerful presence on screen. "Othello" continues to be performed on stage worldwide. Notable theatrical productions include the Royal Shakespeare Company's 2015 production, featuring Hugh Quarshie as Othello, and the 2007 Broadway revival, with Chiwetel Ejiofor in the lead role, receiving critical acclaim for their compelling interpretations. Othello's character has also been explored in literary adaptations and reimaginings. For example, in 2001, author Sena Jeter Naslund wrote the novel "Ahab's Wife," where she includes a fictional encounter between Othello and the protagonist. These adaptations offer different perspectives and delve into the complexity of Othello's character. Othello's story has inspired numerous musical compositions. One notable example is the opera "Otello" by Giuseppe Verdi, which premiered in 1887. Verdi's powerful music captures the intense emotions of the characters and brings Othello's tragic tale to life.

1. Literary Influence: "Othello" has had a profound influence on subsequent works of literature. Its exploration of themes such as jealousy, betrayal, and the destructive power of manipulation has inspired countless writers. For example, Toni Morrison's novel "A Mercy" draws parallels to "Othello" in its exploration of race and power dynamics. The play's tragic elements and psychological depth have also influenced works like James Joyce's "Ulysses" and D.H. Lawrence's "Women in Love." 2. Psychological Exploration: Othello's tragic descent into jealousy and manipulation has made the play a subject of psychological analysis. The character's inner conflict and the manipulation he falls victim to offer rich material for the study of human psychology, particularly in relation to themes of trust, self-doubt, and the destructive nature of unchecked emotions. 3. Social Commentary: "Othello" addresses issues of race, identity, and prejudice, making it a powerful tool for social commentary. The play's examination of racial stereotypes and the destructive consequences of discrimination still resonate today. Othello's position as a black man in a predominantly white society has been explored and analyzed in the context of race relations, colonialism, and social injustice. 4. Performance and Theater: "Othello" has had a lasting impact on the world of theater and performance. The character of Othello presents a unique and complex role for actors, requiring both physical presence and emotional depth. The play's themes and dramatic tension continue to captivate audiences, leading to numerous adaptations, productions, and reinterpretations on stage. 5. Language and Imagery: Shakespeare's masterful use of language and vivid imagery in "Othello" has had a lasting impact on the English language. Phrases like "green-eyed monster" and "the beast with two backs" have become part of the cultural lexicon. The play's powerful speeches and soliloquies have been studied, quoted, and admired for their beauty and poetic expression.

1. "Othello" is believed to have been first performed around 1604. While the exact date is unknown, it is widely believed to have premiered at the Court of King James I in London. The play was met with great success and has since become one of Shakespeare's most acclaimed tragedies. 2. "Othello" has contributed several phrases and expressions to the English language. One notable example is the term "the green-eyed monster," used to describe jealousy. This phrase has become a popular way to convey the destructive nature of envy. Additionally, the phrase "wear my heart upon my sleeve" originates from the play, referring to openly displaying one's emotions. 3. Traditionally, the character of Othello has been played by a white actor in blackface makeup. This casting practice has faced criticism and controversy over the years, as it perpetuates racial stereotypes and limits opportunities for actors of color. In recent times, there has been a growing movement towards authentic casting, with actors of African descent portraying the role to offer a more nuanced and authentic representation of Othello's racial identity.

"Othello" remains a timeless and significant work in literature, making it an important subject for essays and academic discussions. Shakespeare's masterful exploration of themes such as jealousy, deception, race, and power continues to resonate with audiences across generations. The character of Othello, a Moorish general in a predominantly white society, raises critical questions about racism, discrimination, and the manipulation of prejudices. Additionally, the play delves into the destructive nature of jealousy and how it can lead to tragic consequences. Writing an essay about "Othello" allows scholars to analyze the complexity of characters like Iago, whose malevolent machinations drive the plot. It offers opportunities to discuss the portrayal of women in the play and the theme of women's agency in a patriarchal society. Furthermore, exploring the play's language, literary devices, and poetic techniques showcases Shakespeare's genius as a playwright. By grappling with the moral dilemmas and psychological depth of the characters, an essay on "Othello" opens doors to deeper insights into human nature, society, and the enduring power of Shakespeare's storytelling.

"She loved me for the dangers I had passed, And I loved her that she did pity them. This only is the witchcraft I have used." "I kissed thee ere I killed thee — no way but this, killing myself to die upon a kiss" "Reputation, reputation, reputation! Oh, I have lost my reputation! I have lost the immortal part of myself, and what remains is bestial" "Men in rage strike those that wish them best" "But I will wear my heart upon my sleeve for daws to peck at: I am not what I am"

1. Chandler, M. (1987). The Othello effect. Human development, 30(3), 137-159. (https://www.karger.com/article/Abstract/273174) 2. Shakespeare, W. (2019). othello. In One-Hour Shakespeare (pp. 231-302). Routledge. (https://www.taylorfrancis.com/chapters/edit/10.4324/9780429262715-11/othello-william-shakespeare) 3. Neill, M. (1989). Unproper beds: Race, adultery, and the hideous in Othello. Shakespeare Quarterly, 40(4), 383-412. (https://www.jstor.org/stable/2870608) 4 . Neely, C. T. (1977). Women and Men in" Othello";" what should such a fool/Do with so good a woman?". Shakespeare Studies, 10, 133. (https://www.proquest.com/openview/91053b700d876bd2b3be478cb40742b1/1?pq-origsite=gscholar&cbl=1819311) 5. Cipriani, G., Vedovello, M., Nuti, A., & Di Fiorino, A. (2012). Dangerous passion: Othello syndrome and dementia. Psychiatry and clinical neurosciences, 66(6), 467-473. (https://onlinelibrary.wiley.com/doi/full/10.1111/j.1440-1819.2012.02386.x) 6. Siegel, P. N. (1953). The Damnation of Othello. PMLA, 68(5), 1068-1078. (https://www.cambridge.org/core/journals/pmla/article/abs/damnation-of-othello/F3193C55450F83F4EFACB0DDF5983B0E) 7. Poulson, C., Duncan, J., & Massie, M. (2005). “I Am Not What I Am”–Destructive Emotions in an Organizational Hierarchy: The Case of Othello and Iago. In The Effect of Affect in Organizational Settings (Vol. 1, pp. 211-240). Emerald Group Publishing Limited. (https://www.emerald.com/insight/content/doi/10.1016/S1746-9791(05)01109-0/full/html) 8. Bristol, M. D. (1990). Charivari and the Comedy of Abjection in" Othello". Renaissance Drama, 21, 3-21. (https://www.journals.uchicago.edu/doi/abs/10.1086/rd.21.41917258?journalCode=rd) 9. Nowottny, W. (1954). Justice and love in Othello. University of Toronto Quarterly, 21(4), 330-344. (https://www.utpjournals.press/doi/abs/10.3138/utq.21.4.330) 10. Braden, W. S. (1990). The Properties of" Othello,". Philosophy and Literature, 14(1), 186-187. (https://muse.jhu.edu/pub/1/article/417219/summary)

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

If you want to write a paper on any topic related to Othello , this article will be your life-saver. Our team collected various free samples on one page. See what Othello essay interests you and click on the link to read it.

✍ Othello: Essay Samples

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

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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.

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A Modern Perspective: Othello

By Susan Snyder

Early in Act 2 of Othello, the newly married Othello and Desdemona are reunited in Cyprus, having survived a storm at sea that threatened their separate ships. The meeting is rapturous, almost beyond words:

  I cannot speak enough of this content.

  It stops me here; it is too much of joy.

                                                         They kiss.

  And this, and this, the greatest discords be

  That e’er our hearts shall make!

                                                   ( 2.1.214 –17)

In a film, the background music would swell at this point. These lovers, a dark-skinned Moorish general and a white Venetian lady, have triumphed over daunting obstacles: racial difference and the attendant cultural taboos, disparities of culture and of age, the angry opposition of Desdemona’s father, Brabantio, urged on by Othello’s malicious subordinate, Iago, the threat of the attacking Turkish fleet, and finally the raging storm that scattered the Turks and might well have swamped the Venetian ships as well. On this high note of joy, with the forces against their happiness destroyed or rendered powerless, the married life of Desdemona and Othello begins.

But less than two days later, the marriage is utterly destroyed and with it Othello and Desdemona themselves. Discords arise between them that cannot be resolved with kisses. Indeed, when we next see Othello kissing his wife ( 5.2.18 , 21 ), it is as a nostalgic gesture before he executes her as an unfaithful wife. Even allowing for the conventional economy and foreshortening of drama, this is a precipitous breakdown of love and trust. What goes so quickly and terribly wrong with the marriage of Othello and Desdemona? In what follows, I suggest various approaches to this question; some overlap, some point in opposing directions. Neither separately nor in conjunction can they offer anything like “the whole truth.”

The most obvious and immediate answer is Iago. It is he who plots to poison Othello’s happiness, and to bring down Cassio as well by getting him first stripped of his military position and then suspected by the Moor as Desdemona’s lover. It is Iago whom everyone onstage condemns at the play’s conclusion: in the space of the last 130 lines or so, various appalled characters call him viper, devil, wretch, pernicious caitiff, Spartan dog, and (repeatedly) slave and villain. At the Cyprus reunion in 2.1 , Iago’s malevolence already adds a jarring note to the triumphant background music. Directly after the speech quoted above—Othello’s wish that kisses be their greatest discords—Iago says, in an aside,

O, you are well tuned now,

But I’ll set down the pegs that make this music,

As honest as I am.

The question of what drives Iago to ruin the Othello music is one that has long been debated. To his pawn, Roderigo, and to the audience in soliloquy, Iago speaks at one time or another of many grievances: Othello has made Cassio his lieutenant rather than Iago, who wanted, and claims to have deserved, the post; Iago suspects that his wife, Emilia, has betrayed him with the Moor; Iago wants revenge, whether by possessing Desdemona (to be “even with him, wife for wife”) or by shattering Othello’s marital happiness; Cassio is his chosen instrument because Cassio is attractive to women and an additional threat to Iago’s husbandly rights of ownership over Emilia. In spite of this wealth of inciting causes, critics have felt a disparity between the magnitude of Iago’s malevolent work and the motives he gives for it. There are too many of them, for one thing. The fears of being cuckolded, mentioned only once or twice, don’t seem to go very deep. And when Iago, after engineering Cassio’s downfall, does get the lieutenancy at the end of Act 3, scene 3 , he expresses no satisfaction either then or later.

Deeper insight comes from a few glimpses Iago affords us into his feelings, apart from the occasions he cites. “I hate the Moor” is his obsessive litany: “I have told thee often, and I retell thee again and again . . .” ( 1.3.407 –8). This may well be suspect, like anything else he says to Roderigo, but even when alone he reiterates it:

                                      I hate the Moor,

And it is thought abroad that ’twixt my sheets

’Has done my office.                      ( 1.3.429 –31)

The phrasing—“ And it is thought,” not “ Because it is thought”—detaches the hatred from any immediate cause, gives it a dark life of its own. Bernard Spivack pointed out this unexpected And and the resulting detachment. He concluded that Iago was a descendant of the Vice character in medieval allegorical drama. 1 At times, certainly, Iago’s malevolence seems too absolute for ordinary motivation, presenting rather what Melville called (in the Iago-like Claggart he created for Billy Budd ) “the mystery of iniquity.” But the reader or viewer, as well as the actor assigned to play Iago, may nevertheless find enlightenment of various kinds in human psychology. It is possible, for example, to see Iago not as an inhuman embodiment of evil but as a man who habitually feels the fine qualities and good fortunes of others as injuries to himself. He seems to point to that characteristic in himself later in the play when he tells us why Cassio has to die. As one who can expose Iago’s deception to Othello, Cassio is a practical danger, but that is just an afterthought to Iago’s more basic resentment of Cassio: “He hath a daily beauty in his life / That makes me ugly” ( 5.1.20 –21).

If Iago feels himself a have-not, the graces of Cassio and Desdemona and the glamorous life and language of Othello must rankle in maddening contrast. Probing the subtext further, we may see recurring through his real and imagined grievances the anxiety of displacement. The fantasies of being dislodged from his sole rights as a husband by Othello or Cassio are problematic; more firmly based in reality, and more galling, is his displacement by Cassio as Othello’s lieutenant—and intimate friend. The Moor has passed over his ensign, Iago, with all his experience in the battlefield, to choose the well-bred Cassio, courtly in behavior and schooled in “bookish theoric” ( 1.1.25 ). Iago himself is of the lower class: “honest,” the label he constantly receives from others, is complimentary but also patronizing, used to pat inferiors on the head. Insecurity about his “place” in the social hierarchy blends into the specific obsession about the military position he has failed to attain. Complaining, he sounds rather like an NCO jeering angrily at the advancement of a West Point graduate:

                             ’Tis the curse of service.

Preferment goes by letter and affection,

And not by old gradation, where each second

Stood heir to th’ first.                      ( 1.1.37 –40)

Promotion by seniority ( gradation ) would presumably have rewarded Iago for his long service in the field, but now it is letter and affection that count: letters of recommendation from influential people, 2 and Othello’s own partiality for Cassio, stronger than any regard he had for Iago. In spite of the experience he and his general shared in several campaigns, Iago is shut out from this affection, the closeness that draws Othello naturally to make his (well-born) friend his lieutenant, the one who will act in his stead and represent him. The rejection can be seen as a double one: as Cassio appropriates Othello on the one hand, Desdemona draws him on the other, away from the bond of fellow soldiers into a new intimacy of marriage.

Iago might thus say with Hamlet, “How all occasions do inform against me”: each event stirs his general sense of being put down, discounted, and excluded. His shrewd intelligence makes him all the more resentful at being subordinate to both Othello and Cassio in the army hierarchy. He exults in manipulating them, in being the one truly in command. Manipulating Cassio is easy, for the lieutenant has a defined weakness, susceptibility to drink. With Roderigo’s help it is not difficult for Iago to lead Cassio on to brawling on the watch and quick demotion. Does Othello also show signs of vulnerability? For some critics, narcissism and self-dramatization are all too apparent in the “noble Moor,” enough to destroy his marriage even without much help from Iago. 3 Without so thoroughly discounting Othello’s greatness, we may well recognize in him a social insecurity that renders him open to Iago’s insinuations.

I know our country disposition well.

In Venice they do let God see the pranks

They dare not show their husbands. Their best

    conscience

Is not to leave ’t undone, but keep ’t unknown.

OTHELLO   Dost thou say so?           ( 3.3.232 –37)

Othello has no knowledge of his own to counter this insider’s generalizations about Venetian wives. He knows nothing of Venice apart from the few months’ residence during which his courtship took place. A soldier since boyhood, he is unused to any peacetime society. Although he is a Venetian by association and allegiance, whatever he knows of the customs and assumptions of Venice is learned, not instinctive. If Iago, a native, says Venetian women are habitually unfaithful, it must be so (“Dost thou say so?”). Paul Robeson, whose second New York Othello production opened soon after the end of World War II, compared the Moor’s insecurity to what an American soldier in the occupying army in Japan might feel in courting a Japanese woman, totally ignorant of the culture and its customs and having no basis on which to disbelieve the advice offered him.

Besides denying him cultural experience, Othello’s warrior-past unfits him for his present dilemma in another way. He is decisive, as a good commander must be. He does not hesitate in doubt, and when resolved must act:

                      To be once in doubt

Is once to be resolved. . . .

I’ll see before I doubt; when I doubt, prove;

And on the proof, there is no more but this:

Away at once with love or jealousy.

                                                  ( 3.3.210 –23)

What works for the soldier is tragic for the husband; it pushes him past the doubt he cannot tolerate to an act of closure that is irrevocable.

Between Othello’s years of exclusively masculine experience in the “tented field” and Desdemona’s sheltered Venetian girlhood stretches a gap that even the most loving marriage can hardly bridge. He is black, she is white. He is middle-aged, she is young. Neither this disparity in age nor Othello’s unfamiliarity with Venice is in the story on which Shakespeare based his play (in that story, for example, the Moor is a longtime resident) suggests that the playwright was deliberately accentuating this marriage as a union of opposites. The source story also has the bride and groom live together in Venice for several months after the marriage; Shakespeare, keeping his own emphasis, sends his newlyweds off immediately to the challenges of Cyprus, allowing no time to foster personal or social familiarity. Othello and Desdemona are so thoroughly deprived of common ground as to constitute a paradigm of difference in marriage. It is as if Shakespeare were directing our attention to the tragic vulnerability of love itself. Desdemona’s devotion is total; and while Othello’s love may be based in part on her mirroring back to him his best self (“She loved me for the dangers I had passed, / And I loved her that she did pity them” [ 1.3.193 –94]), he has clearly invested his life in their new relationship. Each is dependent on the other, yet each is necessarily separated in isolated selfhood. Beyond Othello’s personal deficiencies, then, we may focus on this unresolvable contradiction and the cross-purposes and misunderstandings it breeds, inherent in any love relation but in Othello dramatically accented and thematized.

The play’s hero as well as its villain may thus be implicated in the disaster that befalls the marriage. From a different perspective, one may see additional psychological dimensions to this tragedy, a tragedy in which social forces have determining power beyond merely individual drives and deficiencies. It is, of course, Venetian society that labels Othello and Iago inferior, Iago for being far down in the social hierarchy and Othello for being foreign and dark-skinned. 4 Yet while neither Othello nor Iago is at home in the prevailing social system, they are both deeply embedded in it, like all the other characters, and are shaped by it. The play’s title, as Michael Long notes, is not just Othello or The Moor but Othello, The Moor of Venice . 5 The tragedy evolves from and reacts to a particular society, which is dramatized for us first in Venice itself and then, precariously maintained, in its fortified outpost, Cyprus. Venetian society is in many ways attractive, embellished by graceful accomplishments like Desdemona’s singing, playing, and dancing ( 3.3.216 ), sustained by a civil order one can take for granted. Brabantio disbelieves those who claim he has been robbed: “This is Venice. My house is not a grange [i.e., a farmhouse]” ( 1.1.119 ). Act 1, scene 3 shows us a rational government whose officers deliberate carefully under pressure, hear evidence judiciously.

But if the senators do justice to the alien Moor who has married a senator’s daughter, they are motivated less by fairness than by their desperate need for General Othello to stop the Turkish “theft” of their possession, Cyprus. Brabantio charges Othello with a similar theft on a personal level ( 1.2.80 ), and even when it is plain that Desdemona married of her own accord, her father still addresses her as “jewel,” a precious possession whose “escape” is galling ( 1.3.225 ). The Venetian value system of acquiring and possessing is clear in the frequency of commercial images in the play’s language, including other literal and metaphoric “jewels” that implicate Iago and even Othello. When Iago repeatedly advises “put money in thy purse,” Roderigo is persuaded he can win Desdemona with jewels. Good name is a jewel, Iago assures Othello—and therefore can be stolen. Iago is in fact the thief of Desdemona’s good name, just as he pockets Roderigo’s real jewels. Othello, too, shows the shaping power of this preoccupation with buying and selling, manipulating and increasing wealth, fearing theft. “Had she been true,” he says of his beautiful wife,

If heaven would make me such another world

Of one entire and perfect chrysolite [i.e., topaz],

I’d not have sold her for it.                 ( 5.2.175 –77)

The pervasive notion of woman as property, prized indeed but more as object than as person, indicates one aspect of a deep-seated sexual pathology in Venice. Othello admires Desdemona’s skin as she sleeps, “whiter . . . than snow, / And smooth as monumental alabaster” ( 5.2.4 –5). Besides the beauty of alabaster—yet another precious substance—its coldness and stillness are the keynotes. Earlier he had been troubled to feel her hand, “Hot, hot, and moist,” and sense there “a young and sweating devil . . . That commonly rebels” ( 3.4.45 –49). What he wants, it seems, is a beautiful form with no wayward life at all. “Be thus when thou art dead, and I will kill thee / And love thee after” ( 5.2.20 –21).

Fear of women’s sexuality is omnipresent in Othello. Iago fans to flames the coals of socially induced unease in Othello, fantasizes on his own about being cuckolded by Othello and Cassio. In an ideology that can value only cloistered, desireless women, any woman who departs from this passivity will cause intense anxiety. One result is a version of the familiar “virgin/whore syndrome,” which Cassio actually enacts in the play with the two women who concern him most. He exalts “the divine Desdemona,” commanding the Cypriots to kneel to her as if to a goddess ( 2.1.93 ). He resists strongly when Iago’s conversation puts her in a sexual context, refusing to speculate about the wedding night, insisting on her modesty ( 2.3.26 –27). The woman with whom he is sexually involved, Bianca, is a strumpet—or is she? Bianca denies it, and we have no evidence from the text that she sells her favors as Iago says. The 1623 Folio list of characters which labels her “a courtesan” is most likely the work of someone in the printing house, the label being derived from the accusations of Iago, Cassio, and Emilia; but perhaps we should separate Shakespeare’s characterization of Bianca from that of these characters. Perhaps what we ought to register is not that Bianca is a slut but that Cassio treats her like a slut. If she has desired him and slept with him, she has, in his eyes, become a slut. Desdemona’s own frankly expressed desire for her husband in Act 1, scene 3 contrasts significantly with his denial of such feelings for her, and after he has possessed her there are suggestions that the revulsion he feels is for his sexual bond with her as well as for her purported adultery with Cassio. 6

This is perhaps the most insidious tragic design in Othello, a psychosocial web that ensnares men and women alike. It is never named. In the last scene, Emilia vows to speak out in spite of men—“Let heaven and men and devils, let them all, / All, all, cry shame against me, yet I’ll speak” ( 5.2.262 –63). But before she can, Iago stabs her into silence. Othello tries to sum up his life before ending it, but his moving picture of “one that loved not wisely, but too well” is incomplete. In that same speech he likens Desdemona to “a pearl . . . richer than all his tribe,” still caught in the Venetian economy of worth. Othello stops his own groping self-analysis with his sword, and Iago, still alive, refuses explanation: “What you know, you know. / From this time forth I never will speak word.” And the onlookers cannot contemplate the marriage of opposites so disastrously concluded, Desdemona and Othello dead on their marriage bed. “The object poisons sight,” shudders Lodovico; “Let it be hid.”

• Shakespeare and the Allegory of Evil (New York: Columbia University Press, 1958), p. 448 and more generally chs. 1 and 12.
• Iago himself has in fact tried to wield influence of this kind, employing “three great ones of the city” to plead his case with Othello ( 1.1.9 ).
• This view was most strongly argued by F. R. Leavis in “Diabolic Intellect and the Noble Hero: A Note on Othello ,” Scrutiny 6 (1937–38): 259–83. The National Theatre production of 1964, with Laurence Olivier as Othello, was based on Leavis’s interpretation.
• This shared status as outsiders may well draw Othello, when his confidence is shaken, to rely all the more on Iago. Director Joe Dowling took this approach in his 1991 production in New York’s Shakespeare in the Park series: Richard Bernstein, “Looking Inside that Outsider, Othello the Moor,” New York Times , June 16, 1991, pp. 5, 34.
• The Unnatural Scene: A Study in Shakespearean Tragedy (London: Methuen, 1976), p. 39.
• Desdemona, not Othello, begs that they may pursue their married life in Cyprus: “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 . . . if I be left behind, / A moth of peace, and he go to the war, / The rites [of lovemaking] for why I love him are bereft me.” She was also the initiator in their courtship. Othello in supporting her plea disclaims the urgency of desire: “I . . . beg it not / To please the palate of my appetite, / Nor to comply with heat (the young affects / In me defunct).” In the last scene, commanded to remember her sins, Desdemona replies, “They are loves I bear to you” ( 5.2.49 ). “Ay, and for that thou diest,” responds Othello, seeming to find that loving desire for her own husband as sinful as that he imagines she has for Cassio.

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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 […]

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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 […]

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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.

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What Shakespeare can teach us about racism

Associate Professor of English, Trinity College

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David S. Brown receives funding from Mellon Foundation and American Council of Learned Societies.

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William Shakespeare’s famous tragedy “ Othello ” is often the first play that comes to mind when people think of Shakespeare and race . And if not “Othello,” then folks usually name “ The Merchant of Venice ,” “ Antony and Cleopatra ,” “ The Tempest ,” or his first – and bloodiest – tragedy, “ Titus Andronicus ,” my favorite Shakespeare play.

Among Shakespeare scholars, those five works are known as his traditionally understood “race plays” and include characters who are Black like Othello, Jewish like Shylock, Indigenous like Caliban, or Black African like Cleopatra.

But what did Shakespeare have to say about race in plays such as “ Hamlet ” and “ Macbeth ,” where Black characters do not have a dominant role, for example?

As Shakespeare scholars who study race know, all of his plays address race in some way. How could they not?

After all, every human being has a racial identity, much like every living human being breathes. Said another way, every character Shakespeare breathed life into has a racial identity, from Hamlet to Hippolyta .

The playwright wrote about many key subjects during the late 15th and early 16th centuries that are relevant today, including gender, addiction, sexuality, mental health, social psychology, sexual violence , antisemitism, sexism and, of course, race .

In my book “ Shakespeare’s White Others ,” I explore the intraracial divisions that Shakespeare illustrates in all his plays.

Here are four things to know about Shakespeare and race.

1. No one should fear Shakespeare

For a long time, I was afraid of Shakespeare. I am not the only one.

In his 1964 essay “ Why I Stopped Hating Shakespeare ,” James Baldwin detailed his initial resistance. Like many people today, Baldwin wrote that he, too, was “a victim of that loveless education which causes so many schoolboys to detest Shakespeare.”

A major part of Baldwin’s loathing of Shakespeare had nothing to do with the English writer specifically, but rather the white elitism that surrounded his work and literature.

But as Baldwin eventually realized, Shakespeare was not the “ author of his oppression .”

Just as Shakespeare didn’t create misogyny and sexism, he didn’t create race and racism. Rather, he observed the complex realities of the world around him, and through his plays he articulated an underlying hope for a more just world.

2. Shakespeare’s work reveals social injustice

“ Titus Andronicus ” featured the playwright’s first Black character, Aaron. In that play, written near the end of the 16th century, the white Roman empress, Tamora, cheats on her white emperor husband, Saturninus, with Aaron. When Tamora eventually gives birth to a baby, it’s clear Tamora’s baby daddy isn’t Saturninus.

Consequently, the white characters who know about the infant’s real father urge Aaron to kill his newborn Black son. But Aaron refuses. He opts instead to fiercely protect his beloved child.

Amid all the drama that occurs around the child’s existence, Shakespeare momentarily offers a beautiful defense of Blackness in the play’s fourth act.

“Is black so base a hue?” Aaron initially asks before challenging the cultural norm. “Coal-black is better than another hue, in that it scorns to bear another hue.”

In other words, at least to Aaron, being Black was beautiful, Blackness exuded strength.

Such words about the Black identity are not uttered elsewhere in Shakespeare’s plays – not even by the more popular Othello .

3. The power of whiteness

In plays such as “ Hamlet ,” “Macbeth” and “ Romeo and Juliet ,” race still figures in the drama even when there are no dominant Black characters.

Shakespeare does this by illustrating the formation and maintenance of the white identity. In a sense, Shakespeare details the nuances of race through his characters’ racial similarities, thus making racial whiteness very visible.

In Shakespeare’s time, much like our present moment, the presumed superiority of whiteness meant social status was negotiated by everyone based on the dominant culture’s standards.

In several of his plays, for instance, the playwright uses “white hands” as noble symbols of purity and white superiority. He also called attention to his character’s race by describing them as “white” or “fair.”

Shakespeare also used black as a metaphor for being tainted.

One such moment occurs in the comedy “ Much Ado About Nothing .”

A young white woman, Hero, is falsely accused of cheating on her fiancé. On their wedding day, Hero’s groom, Claudio, charges her with being unfaithful. Claudio and Hero’s father, Leonato, then shame Hero for being allegedly unchaste, a no-no for 16th-century English women who were legally their father’s and then their husband’s property.

With Hero’s sexual purity allegedly tainted, her father describes her as having “fallen into a pit of ink.”

Sex before marriage violated the male-dominated culture’s expectations for unwed white women.

Thus, in that play, Hero momentarily represents an “inked” white woman – or a symbolic reflection of the stereotyped, hypersexual Black woman.

4. The future of scholarship on Shakespeare and race

Today, scholars are publishing new insights on the social, cultural and political issues of Shakespeare’s time and our own. In fact, there are dozens of scholars and theater practitioners devoting their professional lives to exploring race in Shakespeare’s literature and time period.

In his 2000 book “ Shakespeare Jungle Fever: National-Imperial Re-Visions of Race, Rape, and Sacrifice ,” UCLA English professor Arthur L. Little Jr. explored British imperialism, racialized whiteness and the sexual myths about Black men.

In 2020, playwright Anchuli Felicia King wrote “ Keene ,” a satirical riff on “Othello” that offers a modern-day critique on whiteness. In “Keene,” Kai, a Japanese musicologist, and Tyler, a Black Ph.D. student, meet at a Shakespeare conference where they are the only two people of color at the elite white gathering. While Tyler is focused on writing his thesis, Kai is focused on Tyler. A romance ensues, only to see Tyler – much like Othello before him – betrayed by his closet white confidant, Ian.

In 2019, British actress Adjoa Andoh directed Shakespeare’s “ Richard II ” with a cast of all women of color – a production that she called “a thought experiment into the universality of humanity.”

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What shakespeare can teach us about racism, the conversation.

• May 5, 2024

A scene from Shakespeare’s play ‘Othello.’ Universal History Archive/ Getty Images

by David Sterling Brown , Trinity College

William Shakespeare’s famous tragedy “ Othello ” is often the first play that comes to mind when people think of Shakespeare and race . And if not “Othello,” then folks usually name “ The Merchant of Venice ,” “ Antony and Cleopatra ,” “ The Tempest ,” or his first – and bloodiest – tragedy, “ Titus Andronicus ,” my favorite Shakespeare play.

Among Shakespeare scholars, those five works are known as his traditionally understood “race plays” and include characters who are Black like Othello, Jewish like Shylock, Indigenous like Caliban, or Black African like Cleopatra.

But what did Shakespeare have to say about race in plays such as “ Hamlet ” and “ Macbeth ,” where Black characters do not have a dominant role, for example?

As Shakespeare scholars who study race know, all of his plays address race in some way. How could they not?

After all, every human being has a racial identity, much like every living human being breathes. Said another way, every character Shakespeare breathed life into has a racial identity, from Hamlet to Hippolyta .

The playwright wrote about many key subjects during the late 15th and early 16th centuries that are relevant today, including gender, addiction, sexuality, mental health, social psychology, sexual violence , antisemitism, sexism and, of course, race .

In my book “ Shakespeare’s White Others ,” I explore the intraracial divisions that Shakespeare illustrates in all his plays.

Here are four things to know about Shakespeare and race.

1. No one should fear Shakespeare

For a long time, I was afraid of Shakespeare. I am not the only one.

In his 1964 essay “ Why I Stopped Hating Shakespeare ,” James Baldwin detailed his initial resistance. Like many people today, Baldwin wrote that he, too, was “a victim of that loveless education which causes so many schoolboys to detest Shakespeare.”

A major part of Baldwin’s loathing of Shakespeare had nothing to do with the English writer specifically, but rather the White elitism that surrounded his work and literature.

But as Baldwin eventually realized, Shakespeare was not the “ author of his oppression .”

Just as Shakespeare didn’t create misogyny and sexism, he didn’t create race and racism. Rather, he observed the complex realities of the world around him, and through his plays he articulated an underlying hope for a more just world.

2. Shakespeare’s work reveals social injustice

“ Titus Andronicus ” featured the playwright’s first Black character, Aaron. In that play, written near the end of the 16th century, the White Roman empress, Tamora, cheats on her White emperor husband, Saturninus, with Aaron. When Tamora eventually gives birth to a baby, it’s clear Tamora’s baby daddy isn’t Saturninus.

Consequently, the White characters who know about the infant’s real father urge Aaron to kill his newborn Black son. But Aaron refuses. He opts instead to fiercely protect his beloved child.

Amid all the drama that occurs around the child’s existence, Shakespeare momentarily offers a beautiful defense of Blackness in the play’s fourth act.

“Is black so base a hue?” Aaron initially asks before challenging the cultural norm. “Coal-black is better than another hue, in that it scorns to bear another hue.”

In other words, at least to Aaron, being Black was beautiful, Blackness exuded strength.

Such words about the Black identity are not uttered elsewhere in Shakespeare’s plays – not even by the more popular Othello .

3. The power of Whiteness

In plays such as “ Hamlet ,” “Macbeth” and “ Romeo and Juliet ,” race still figures in the drama even when there are no dominant Black characters.

Shakespeare does this by illustrating the formation and maintenance of the White identity. In a sense, Shakespeare details the nuances of race through his characters’ racial similarities, thus making racial Whiteness very visible.

In Shakespeare’s time, much like our present moment, the presumed superiority of Whiteness meant social status was negotiated by everyone based on the dominant culture’s standards.

In several of his plays, for instance, the playwright uses “White hands” as noble symbols of purity and White superiority. He also called attention to his character’s race by describing them as “White” or “fair.”

Shakespeare also used black as a metaphor for being tainted.

One such moment occurs in the comedy “ Much Ado About Nothing .”

A young White woman, Hero, is falsely accused of cheating on her fiancé. On their wedding day, Hero’s groom, Claudio, charges her with being unfaithful. Claudio and Hero’s father, Leonato, then shame Hero for being allegedly unchaste, a no-no for 16th-century English women who were legally their father’s and then their husband’s property.

With Hero’s sexual purity allegedly tainted, her father describes her as having “fallen into a pit of ink.”

Sex before marriage violated the male-dominated culture’s expectations for unwed White women.

Thus, in that play, Hero momentarily represents an “inked” White woman – or a symbolic reflection of the stereotyped, hypersexual Black woman.

4. The future of scholarship on Shakespeare and race

Today, scholars are publishing new insights on the social, cultural and political issues of Shakespeare’s time and our own. In fact, there are dozens of scholars and theater practitioners devoting their professional lives to exploring race in Shakespeare’s literature and time period.

In his 2000 book “ Shakespeare Jungle Fever: National-Imperial Re-Visions of Race, Rape, and Sacrifice ,” UCLA English professor Arthur L. Little Jr. explored British imperialism, racialized Whiteness and the sexual myths about Black men.

In 2020, playwright Anchuli Felicia King wrote “ Keene ,” a satirical riff on “Othello” that offers a modern-day critique on Whiteness. In “Keene,” Kai, a Japanese musicologist, and Tyler, a Black Ph.D. student, meet at a Shakespeare conference where they are the only two people of color at the elite White gathering. While Tyler is focused on writing his thesis, Kai is focused on Tyler. A romance ensues, only to see Tyler – much like Othello before him – betrayed by his closet White confidant, Ian.

David Sterling Brown , Associate Professor of English, Trinity College

This article is republished from The Conversation under a Creative Commons license. Read the original article .

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Tags: anti-semitism , English literature , Hamlet , James Baldwin , Macbeth , Racism , Shakespeare , Titus Andronicus , whiteness

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In the Bard’s Hometown, a Challenge for New Theater Leaders

The Royal Shakespeare Company’s co-artistic directors have put together a challenging debut season. But many visitors come to Stratford-upon-Avon seeking something more traditional.

By Houman Barekat

Reporting from Stratford-upon-Avon, England

Outside peak tourist season, there’s something a little uncanny about Stratford-upon-Avon, the English market town famous as William Shakespeare’s birthplace and home. On a visit last week, with only a trickle of foreign sightseers and a few locals around, the town’s cobbled streets, mock-Tudor pubs and quaint tearooms were eerily quiet. The occasional flock of schoolchildren on a field trip provided the closest thing to bustle.

And yet this tranquil place is home to one of the most venerable institutions of British cultural life: the Royal Shakespeare Company. Founded in 1961, with a mission to bring Shakespeare’s work to a contemporary audience, the company is renowned for its diverse and forward-thinking repertoire: It presents modern spins on Shakespeare’s plays alongside works by other playwrights, with a strong, craft-centric ethos geared toward nurturing emerging talent. With a roster of alumni that includes Judi Dench, Patrick Stewart, Ian McKellen and Helen Mirren, the company’s global prestige transcends its modest environs.

But when summer comes, the tourists will, too — and this presents a perennial challenge for the Royal Shakespeare Company’s leaders.

A lot of those visitors will want to see classical, period-dress productions that transport them to a picture-postcard England of yore, in keeping with Stratford’s kitschy trappings. But contemporary treatments of Shakespeare’s texts — eschewing naturalism, foregrounding psychological elements and topical resonances — are more in vogue. This is the conundrum facing Daniel Evans and Tamara Harvey, the troupe’s new co-artistic directors , as they embark on their first season in charge.

For the first few decades of its existence, the company had one foot in Stratford and the other in London. It abandoned its London base in 2001 , when the artistic director at the time, Adrian Noble, dismantled its permanent acting troupe in favor of a flexible model, with performers on short-term contracts.

This made it easier to sign up big-name stars, but it upset actors’ unions and some theater purists, like the theater historian Simon Trowbridge. In his pointedly titled 2021 book “The Rise and Fall of the Royal Shakespeare Company,” Trowbridge argued that the company should have ditched Stratford, and instead made its primary home in London, where Britain’s largest theater audience is, only deploying the Stratford theaters during the busy summer season and perhaps at Christmas.

But the symbolic allure of Shakespeare’s hometown was too tempting to give up. When I met Evans and Harvey for an interview, they made a persuasive case for the merits of keeping a base in Stratford. Harvey previously spent seven years as the artistic director of Theatr Clwyd, an arts center in Wales; Evans, a former actor with two Olivier Awards to his name, enjoyed fruitful spells at the Royal Shakespeare Company in the 1990s and 2000s, and was the artistic director of the Chichester Theater Festival before taking his current job.

Through a window in one of the Stratford rehearsal rooms, Evans said, “you can see the church where Shakespeare was baptized and is now buried, and through another window you can see the school he went to, and through another you can see the house he bought for his wife and family later in life.”

“Having rehearsed myself as a young actor in that space,” he added, there was something to “relish and savor about coming to make theater in the place where you can see and experience those things — not in a way that is touristic, but in a way that brings you closer to the source.”

Harvey said that there was a “thing that happens when you are in a place that is not your everyday existence — the focus that comes from that, and the sense of company. Which is something that we can offer that London theaters can’t. It’s a very American model in some ways: America has an extraordinary network of theaters outside of major metropolises.”

There has always been a strong U.S. connection to the theater at Stratford. In the Victorian era, the town’s burgeoning tourist industry was sustained by a constant flow of trans-Atlantic Shakespeare pilgrims.

“It was actually Americans who first got it,” Harvey said. In the 19th century, when two local brewery magnates, Edward Fordham Flower and Charles Flower, proposed building a theater in Stratford, “the British public and the British theater world essentially said ‘that idea’s nonsense,’” Harvey said. The duo then “went across the Atlantic, and it was American philanthropists and supporters who got the idea, and came on board, and made it possible,” she added. The result was the Shakespeare Memorial Theater, built in 1879 and later renamed the Royal Shakespeare Theater.

Today, that playhouse is the Royal Shakespeare Company’s flagship. Elsewhere in Stratford, the company also runs the 400-seat Swan Theater and a small studio theater called the Other Place. A new outdoor auditorium, the Holloway Garden Theater, will begin hosting outdoor performances from June.

The program for Evans and Harvey’s debut season includes a Ukrainian production of “ King Lear ” and an abridged, 80-minute outdoor “ As You Like It .” A period-dress “Othello” in the fall will cater to more conservative tastes. The non-Shakespeare offerings include a retelling of Richard Brinsley Sheridan’s 1777 aristocratic comedy, “ The School for Scandal ,” and new plays on themes such as environmental politics (“ Kyoto ”) and language lessons (“ English ”). The key, Evans said, was “balance and variety.”

The season began in April with a spirited take on Shakespeare’s “Love’s Labour’s Lost.” In this early comedy, regarded as something of an anomaly because of its bathetic, unresolved ending, Ferdinand, the king of Navarre (Abiola Owokoniran) and his three favorite noblemen (Luke Thompson, Eric Stroud and Brandon Bassir) undertake a vow of abstinence — “to fast, to study, to see no woman.”

That is promptly derailed by the arrival of a princess (Melanie-Joyce Bermudez) and her retinue (Ioanna Kimbook, Amy Griffith and Sarita Gabony). In contravention of their oath, the men make advances on the sly and the wary women prank them to test their mettle. Cue a medley of exquisite tomfoolery, featuring bawdy badinage, dubious love-poems, mistaken identity, visual gags, a chaotic play-within-a-play and lots of linguistic whimsy.

In this production, directed by Emily Burns and running at the Royal Shakespeare Theater through May 18, the principal characters are reimagined as 21st-century tech mogul types, and the setting is a Hawaiian island retreat. It’s a clever update, not least because the men’s masochistic undertaking — to forgo pleasure for the sake of an obscurely defined idea of personal advancement — prefigures the self-optimization fetish that today’s social media gurus are hustling.

But the production doesn’t strain too hard for relevance, and needn’t jar with more traditionally minded audiences. (And the nuts and bolts of seduction haven’t changed all that much in 500 years.) Ultimately, it’s the script, ably brought to life by a talented group of actors, that does the work. Thompson (of “Bridgerton” fame) is the pick of the bunch as Berowne, one of the king’s noblemen, delivering his lines with satirical brio and a wonderful range of complacent smirks. He has one of those faces that suggest mischief, even when at rest.

Youthful yearning is also on the menu at the Swan Theater, in a new adaptation of the British writer Hanif Kureshi’s coming-of-age novel, “ The Buddha of Suburbia ,” directed and adapted by Emma Rice with input from Kureshi himself. Set in late-1970s London, against a backdrop of political turbulence and racial strife, it follows a young British Pakistani man, Karim, as he grapples with the emotional fallout of his parents’ failing marriage while negotiating his passage to manhood — through music, drugs and heartbreak — before he finds his calling in the theater. (The show plays in repertoire through June 1.)

Rachana Jadhav’s set is a cross-section of a ’70s suburban dwelling, featuring an orange-red sofa, a floral-patterned stair tread and several mirror balls. When we first meet Karim’s yogi father, Haroun (Ankur Bahl), he is wearing nothing but a pair of Y-fronts. His very first action, removing a piece of fluff from his bellybutton, sets the tone for this playful and irreverent romp. The sexual content — of which there is plenty — is rendered with disarming, pantomimic silliness: bananas to suggest erections; party poppers let off to signify the moment of climax.

Dee Ahluwalia is well cast as Karim, with just the right blend of pretty-boy looks and callow impudence. When he periodically breaks off into first-person, audience-facing narration, he has the winking, conspiratorial aspect of an experienced crooner working the crowd between songs. Ewan Wardrop is outstanding as the creepy theater director who takes him under his wing, and Bettrys Jones excels in two very different roles: affectingly poignant as Karim’s long-suffering mother, Margaret, and riotously eccentric as his mercurial love interest, Eleanor.

Though the play touches on somber topics — racist violence, the fragmented lives of the migrant diaspora — it is anything but earnest, with a jaunty, naïve quality that echoes the reckless esprit of early adulthood. “The Buddha of Suburbia” doesn’t have the sentence-level brilliance of the Bard — it’s more Ealing Comedy than Shakespeare — but there is something of his spirit in its ribald energy, and it doesn’t feel out to of place in Stratford. There was lots of laughter, and the mood was buzzing as people filed out.

Both of these shows revolved around youth, and both went down well with a predominantly senior audience. Their freshness and exuberance augured well for the coming season. The hope must be that the more traditional audiences will move with the times, and come around to new visions. You can’t please all of the people all of the time — but you can do your best to take them with you. And if not, there are always the tearooms.