othello cassio essay

William Shakespeare

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Home — Guides — Othello — Analysis of characters in “Othello”: the relationship of the heroes of the play

by William Shakespeare

• Introduction
• All Plot summary
• Full Summary
• By Act and Scene
• All Characters

Michael Cassio

Duke of venice.

• Racism And Prejudice
• Appearance vs. Reality
• Gender Roles
• Manipulation
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Othello: Characters

Table of contents.

Othello, the titular character of Shakespeare's play, is a complex and multifaceted figure. He is a respected general in the Venetian army, a man of great courage and honor who has won numerous battles and the admiration of those around him. At the same time, however, Othello is vulnerable to jealousy and insecurity, which ultimately lead to his downfall.

One of Othello's most striking qualities is his pride in his own achievements. He is confident in his abilities as a leader and warrior, and he takes great pleasure in recounting his past successes to his friends and associates. This pride is not entirely unfounded, as Othello has indeed accomplished much in his life, but it also makes him vulnerable to flattery and manipulation.

Othello's pride is most clearly on display in his relationship with Desdemona. He sees himself as a man of great stature, deserving of a beautiful and virtuous wife, and he is deeply hurt when he begins to suspect that Desdemona may be unfaithful to him. This hurt quickly turns to rage and jealousy, as Othello becomes consumed with the idea that Desdemona has betrayed him.

It is here that Othello's flaws become most apparent. His jealousy causes him to act rashly and without thinking, and he becomes increasingly convinced that Desdemona is guilty of infidelity. Even when presented with evidence to the contrary, Othello refuses to listen, convinced that he alone knows the truth.

This blindness to the truth is perhaps the most tragic aspect of Othello's character. He is a man of great intelligence and insight, but he becomes so consumed with jealousy that he cannot see what is right in front of him. He is easily manipulated by Iago, who preys on his insecurities and leads him down a path of destruction.

Ultimately, Othello's downfall is the result of his own flaws. He is unable to overcome his jealousy and see the truth about Desdemona, and he allows himself to be led astray by Iago's lies. In the end, he is left with nothing but regret and despair, a broken man who has lost everything he once held dear.

Despite his flaws, however, Othello remains a sympathetic character. He is a man of great passion and emotion, and his love for Desdemona is both genuine and powerful. He is also a victim of circumstance, caught in a web of lies and deceit that he cannot fully comprehend.

In many ways, Othello is a reflection of the human condition. He is a man with strengths and weaknesses, virtues and flaws, and he is ultimately brought down by the same things that make us all vulnerable. He is a tragic figure, but one that we can all relate to on some level.

In conclusion, Othello is a complex and multifaceted character, full of both strengths and weaknesses. He is a man of great pride and achievement, but also of great vulnerability and insecurity. His downfall is the result of his own flaws, but he remains a sympathetic figure, a victim of circumstance and human frailty. Othello is a timeless character, one that continues to resonate with audiences today, and a testament to Shakespeare's skill in creating truly unforgettable characters.

Desdemona is a key character in William Shakespeare's tragedy, Othello. She is the wife of the titular character, Othello, and plays a crucial role in the play's plot, as well as its themes. Throughout the play, Desdemona is depicted as a pure, innocent, and virtuous character who is devoted to her husband. In this analysis, we will explore Desdemona's character in more depth, focusing on her role in the play, her relationship with Othello, and her tragic end.

Desdemona is introduced in the play as the daughter of a Venetian senator, Brabantio. She is portrayed as a beautiful and kind-hearted woman who captures the heart of Othello, a Moorish general in the Venetian army. Despite the social and racial differences between them, Desdemona and Othello fall deeply in love and marry in secret. Desdemona's decision to marry Othello despite the objections of her father and the society she lives in shows her courage and strength of character.

Desdemona's relationship with Othello is a central part of the play's plot. Throughout the play, she remains devoted to him and is willing to do anything to make him happy. She accompanies Othello to Cyprus, where he has been sent to lead the army in a war against the Turks. In Cyprus, she is falsely accused of infidelity by Othello's jealous subordinate, Iago, who convinces Othello that Desdemona has been unfaithful. Despite Desdemona's pleas of innocence, Othello becomes consumed by jealousy and ultimately kills her in a fit of rage.

Desdemona's character is significant in the play as she represents the theme of innocence and purity. She is depicted as a victim of the society she lives in, which judges her based on her gender and race rather than her character. Throughout the play, Desdemona is shown to be a kind, caring, and loyal character, who is always trying to do the right thing. She is an embodiment of the traditional idea of femininity, which emphasizes purity, chastity, and virtue. Her innocence is evident in her inability to comprehend the motivations of those around her, including Iago's deception and Othello's jealousy.

The tragic end of Desdemona in Othello is a result of the play's themes of jealousy, betrayal, and the destructive power of societal prejudices. Her death is a consequence of Othello's inability to see beyond his own jealousy and Iago's manipulations. Despite her innocence, Desdemona is punished for Othello's mistake, and her tragic end emphasizes the destructive nature of societal norms and expectations.

In conclusion, Desdemona is a complex character who plays a significant role in the plot and themes of Othello. Her innocence, purity, and devotion to her husband make her a tragic figure in the play, as she is ultimately punished for the mistakes of others. Despite her tragic end, Desdemona remains an important character in the play as she represents the themes of innocence and purity, and highlights the destructive power of societal prejudices. Her character adds depth to the play, and her tragic end serves as a warning against the dangers of jealousy, betrayal, and societal norms.

Iago is one of the most enigmatic and fascinating characters in Shakespeare's play Othello. His motivations and intentions are never fully revealed, and he remains a mystery throughout the play. Iago is often considered to be one of the most evil characters in literature, as he is the mastermind behind the destruction of several characters, including Othello and Desdemona.

One of the most notable aspects of Iago's character is his ability to manipulate and deceive others. He is a skilled liar and is able to convince even the most intelligent characters, such as Othello, of his false truths. Iago's manipulation of the other characters in the play is his most defining characteristic. He is able to exploit their weaknesses and use them to his advantage. For example, he convinces Roderigo, who is in love with Desdemona, to help him by telling him that if he helps Iago, he will be able to win over Desdemona's love.

Iago's motivations for his actions are unclear. While jealousy and a desire for revenge are often cited as his motivations, Iago himself never gives a clear reason for his actions. Some critics have suggested that Iago is simply a nihilistic character, who enjoys causing chaos and destruction for its own sake. Others have suggested that he is motivated by a desire for power and control, or by a sense of inadequacy and a desire to destroy those who he perceives as superior to him.

Iago is also a master of irony and deception. He often says one thing while meaning another, and his words are frequently interpreted in different ways by different characters. For example, when Iago tells Othello that "I am not what I am", he is essentially revealing his true character while pretending to be someone else. This line is often interpreted as a reference to God's description of himself in the Bible, and it highlights Iago's arrogance and sense of superiority.

Despite his evil intentions, Iago is a complex and multi-dimensional character. He is often portrayed as a villain, but he also has moments of vulnerability and humanity. For example, when Cassio is stripped of his rank, Iago expresses sympathy for him, telling him that "Reputation is an idle and most false imposition". This moment of compassion is in stark contrast to his usual manipulative behavior, and it suggests that there is more to Iago than just his desire for revenge.

In conclusion, Iago is one of the most intriguing characters in Shakespeare's play Othello. He is a skilled manipulator who is able to deceive and exploit the other characters in the play, but his motivations for doing so are never fully revealed. He is a complex and multi-dimensional character, who is capable of both acts of kindness and acts of extreme cruelty. Despite his evil intentions, Iago remains one of the most fascinating characters in all of literature, and his legacy continues to captivate audiences to this day.

Michael Cassio is one of the main characters in Othello by William Shakespeare. He is a Florentine soldier who serves as Othello's lieutenant, and his actions and relationships with other characters play an important role in the unfolding of the plot.

Cassio is depicted as a young, handsome, and inexperienced soldier who is loyal to Othello and eager to please him. He is described as a man of good nature and virtue, and is seen as a foil to the darker and more manipulative characters in the play, such as Iago.

Cassio's downfall begins when he is manipulated by Iago into getting drunk and causing a disturbance on the streets of Cyprus. Iago then uses this incident to convince Othello that Cassio is not trustworthy and is having an affair with Desdemona. Although Cassio is innocent of these charges, he is demoted by Othello, which causes him great distress and leads him to seek help from Desdemona.

Cassio's relationship with Desdemona is a key part of his character development. While he is not romantically involved with her, he does see her as a friend and confidant, and seeks her help in being reinstated as Othello's lieutenant. However, this friendship is used against him by Iago, who convinces Othello that Cassio and Desdemona are having an affair.

Despite his innocence, Cassio becomes a pawn in Iago's plot to destroy Othello and Desdemona's relationship. He is used to plant the handkerchief that is the supposed evidence of Desdemona's infidelity, and is also present when Iago tells Othello about Cassio's alleged affair with Desdemona. This leads to Cassio being drawn into the tragic events that unfold in the latter half of the play.

Cassio's character can be seen as a symbol of innocence and naivety, as he is manipulated by Iago and used as a tool to further the plot. However, he is also a character who shows great loyalty to Othello, even when he is wrongly accused and demoted. His willingness to seek help from Desdemona, and his gratitude towards her for interceding on his behalf, shows his good nature and moral character.

Overall, Michael Cassio is a complex and well-developed character in Othello. He is not the central figure of the play, but his actions and relationships with other characters have a significant impact on the plot. Through his character, Shakespeare explores themes of innocence, loyalty, and the consequences of manipulation and deceit.

Brabantio is a minor character in Shakespeare's play Othello, but his role is significant in shaping the events of the story. Brabantio is the father of Desdemona and a prominent senator in Venice. He is a proud and powerful man, who commands respect and authority in his community.

Brabantio's character is initially portrayed as a loving and protective father, who cares deeply for his daughter. However, his true nature is revealed when he discovers that Desdemona has eloped with Othello, a black man from North Africa. Brabantio is outraged by this news and accuses Othello of using witchcraft to seduce his daughter.

Brabantio's reaction to Desdemona's marriage to Othello is a reflection of the deeply ingrained racial prejudices of his time. As a member of the Venetian aristocracy, Brabantio believes that his daughter should marry someone of equal social status and ethnicity. He cannot accept the idea that Desdemona has chosen to marry a man who is not only a foreigner but also of a different race.

Despite his prejudices, Brabantio is not portrayed as a one-dimensional character. He is a man of principles, who is willing to stand up for what he believes in, even if it means going against the powerful Duke of Venice. Brabantio accuses Othello of stealing his daughter and demands that he be punished for his crime. When the Duke intervenes and asks Brabantio to hear Othello's side of the story, Brabantio agrees to listen, showing that he is not completely closed-minded.

Brabantio's character serves as a contrast to Othello's. While Othello is a brave and honorable soldier who has won the respect and admiration of his peers, Brabantio is a wealthy and powerful man who uses his influence to get his way. Brabantio's prejudice against Othello leads him to underestimate the character of the man who has won his daughter's heart, and it ultimately leads to his downfall.

In many ways, Brabantio is a tragic character. He is a man who cannot accept the changing times and the increasing acceptance of people from different races and cultures. His obsession with his own status and reputation blinds him to the true nature of the people around him. He cannot see the love that his daughter and Othello share, and he cannot see the goodness in Othello's character.

In conclusion, Brabantio is a complex and multi-layered character in Shakespeare's play Othello. He is a proud and powerful man, who is deeply attached to his daughter, but his prejudices against Othello lead him to act in ways that ultimately lead to his downfall. His character serves as a commentary on the racial prejudices of his time and the dangers of being too attached to one's own social status and reputation.

Emilia is a complex character in Shakespeare’s play Othello. She is the wife of Iago, the play's antagonist, and the attendant and confidante of Desdemona, the protagonist's wife. Emilia's character is interesting because she is often portrayed as a subservient wife, but in reality, she is strong-willed, intelligent, and a fierce advocate for her beliefs.

At the beginning of the play, Emilia is presented as a loyal and dutiful wife to Iago. However, as the play progresses, we see her begin to question her husband's motives and actions. In Act IV, she finds a handkerchief that was stolen by her husband from Desdemona, and despite her loyalty to Iago, she decides to give it to him. This action shows that she is willing to put her own marriage at risk to do what is right.

Furthermore, Emilia is not afraid to speak her mind and stand up for herself. In Act IV, she has a confrontation with her husband where she speaks out against his treatment of Desdemona, saying "Tis not a year or two shows us a man. They are all but stomachs, and we all but food; They eat us hungerly, and when they are full, They belch us." This statement shows that Emilia is aware of the power dynamics between men and women, and she is not afraid to speak out against them.

Emilia is also fiercely loyal to Desdemona. In Act IV, when Desdemona is accused of adultery by Othello, Emilia defends her friend and mistress, stating that she has never seen any evidence of wrongdoing. This shows that Emilia is willing to stand up for what she believes in, even if it goes against the wishes of her husband or the societal norms of the time.

Moreover, Emilia's character development highlights the misogyny that existed during the Elizabethan era. Throughout the play, Emilia is subjected to the patriarchal norms of her society, but she still manages to maintain her sense of self-worth and autonomy. For example, she is constantly belittled and insulted by Iago, who refers to her as a "foolish wife." However, despite this, Emilia still manages to assert herself and defend her beliefs.

In conclusion, Emilia is a multifaceted character in Shakespeare's play Othello. Although she starts off as a loyal and dutiful wife to Iago, she develops into a strong-willed and independent woman who is willing to stand up for her beliefs, even if it puts her at odds with her husband or the societal norms of the time. Emilia's character development also sheds light on the misogyny that existed during the Elizabethan era, showing that even in a patriarchal society, women were capable of asserting themselves and maintaining their autonomy.

The Duke of Venice is a minor character in Shakespeare's play Othello, but he serves an important role in the play. He is a powerful figure who represents the law and order of Venice, and his presence emphasizes the seriousness of the accusations made against Othello.

The Duke is first introduced in Act 1, Scene 3, when Brabantio accuses Othello of stealing his daughter Desdemona. The Duke is initially sympathetic to Brabantio's claims, but he is also aware of Othello's reputation as a skilled military leader and is reluctant to take action against him without hearing his side of the story. When Othello arrives and defends himself, the Duke is convinced of his innocence and approves of his marriage to Desdemona.

Later in the play, the Duke appears again in Act 1, Scene 3, when he receives a message from Cyprus about a Turkish invasion. He sends Othello to lead the Venetian forces against the Turks, showing his confidence in Othello's military abilities and his trust in him as a leader.

The Duke also plays a role in the final act of the play. When Desdemona's murder is discovered and Othello admits to the crime, the Duke orders that Iago be brought to trial for his role in the plot against Othello. This shows the Duke's commitment to justice and his willingness to hold those responsible for their actions.

Overall, the Duke of Venice represents the authority and law in the play. He is fair-minded, rational, and objective in his decision-making, and he provides a sense of stability and order in the midst of the chaos caused by the actions of other characters. While he is not a major character, his presence is crucial in emphasizing the gravity of the situations that occur in the play and in providing a moral compass for the audience to follow.

Roderigo in Othello is a minor character, who plays a pivotal role in Iago's plan to bring about Othello's downfall. He is a wealthy Venetian gentleman who is deeply in love with Desdemona, but she has married Othello. Iago manipulates Roderigo into believing that he can win Desdemona's love if he helps Iago to ruin Othello. Throughout the play, Roderigo is desperate for Iago's approval and guidance, even when it is clear that Iago is using him for his own purposes. Roderigo is a tragic figure who ultimately pays a heavy price for his blind loyalty to Iago.

Bianca is another minor character in Othello who plays a small but important role. She is a courtesan who is in love with Cassio, and she appears in a few scenes where she interacts with him. Bianca is a lower-class character who is often dismissed or ridiculed by the other characters, but she is also a strong and independent woman who refuses to be treated poorly. Her relationship with Cassio is complicated, and it is unclear whether he truly loves her or is using her for his own pleasure. The presence of Bianca in Othello adds an interesting contrast to the other female characters of the play, as she is not afraid to stand up for herself and demand respect.

Lodovico is a minor character who appears in the later acts of the play as an emissary from Venice. He is sent to Cyprus to observe Othello's conduct and to bring him back to Venice if he is found to be unfit for his duties. Lodovico is initially impressed by Othello, but he witnesses the events leading up to the tragic finale and is shocked by Othello's behavior. He is a moral and upright character who serves as a foil to the corrupt and manipulative Iago. The role of Lodovico in Othello is relatively small, but he adds an important perspective to the events unfolding on stage.

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In Venice, at the start of Othello , the soldier Iago announces his hatred for his commander, Othello, a Moor. Othello has promoted Cassio, not Iago, to be his lieutenant.

Iago crudely informs Brabantio, Desdemona’s father, that Othello and Desdemona have eloped. Before the Venetian Senate, Brabantio accuses Othello of bewitching Desdemona. The Senators wish to send Othello to Cyprus, which is under threat from Turkey. They bring Desdemona before them. She tells of her love for Othello, and the marriage stands. The Senate agrees to let her join Othello in Cyprus.

In Cyprus, Iago continues to plot against Othello and Cassio. He lures Cassio into a drunken fight, for which Cassio loses his new rank; Cassio, at Iago’s urging, then begs Desdemona to intervene. Iago uses this and other ploys—misinterpreted conversations, insinuations, and a lost handkerchief—to convince Othello that Desdemona and Cassio are lovers. Othello goes mad with jealousy and later smothers Desdemona on their marriage bed, only to learn of Iago’s treachery. He then kills himself.

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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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Study Guide Menu

• Play’s Plot Explored
• Act 1 Scene 1
• Act 1 Scene 2
• Act 1 Scene 3
• Act 2 Scenes 1-2
• Act 2 Scene 3
• Act‌ ‌3‌ ‌Scenes‌ ‌1-2
• Act‌ ‌3‌ ‌Scene‌ ‌3
• Act 3 Scene 4
• Act‌ ‌4‌ ‌Scene‌ ‌1
• Act 4 Scene 2
• Act‌ ‌4‌ ‌Scene‌ ‌3
• Act‌ ‌5‌ ‌Scene‌ ‌1
• Act 5 Scene 2
• Characters Analysis
• Important Quotes
• Essay Samples
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• William Shakespeare
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Iago is a subordinate of Othello’s and a captain in the Venetian defense forces. Othello passes him over for promotion in favor of the well-spoken, handsome Cassio, although Iago believes he is more experienced. Iago is determined to exact his revenge on Othello for this perceived insult, and also suspects that both Othello and Cassio have had sex with his wife Emilia, even though he has no evidence of this. Iago’s pride, jealousy, and misogyny combine into a destructive malice whose ultimate outcome even Iago can’t entirely predict. Throughout the play, he infects the other characters with his own negative traits, inciting them, and himself, to murder. In addition to driving Othello to kill Desdemona and Roderigo to attempt to kill Cassio, Iago himself kills Roderigo, as well as his wife, Emilia. He has a keen sense of other men’s insecurities and motivations, and in his plots, reduces women to prizes to be won, guarded, and discarded.

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An Analysis of Iago's Manipulation of Each of the Characters in Othello

The essay describes in detail Iago's manipulation of Cassio, Desdemona, Emilia, Roderigo, and Othello.

From beginning to end Iago moves the characters of Othello as if they were chessmen. He uses their individual aspirations and passions to motivate them to whatever devious plan he desires. His adroit manipulation of those characters range from convincing Roderigo to serve Cassio another glass of wine, to leading Othello to the conclusion that only by killing Desdemona could he save himself and mankind from her treacherous acts of infidelity. However, in each case Iago doesn?t have to push very hard because his suggested actions either seem harmless resolutions to each character?s woes or take advantage of character flaws. In each case, because he does not have to push very hard, he is able to maintain an air of apathy while promoting his ultimate malevolent goals: ?I am not what I am?(I, i, 71). In this manner, Iago manipulates Cassio, Desdemona, Emilia, Roderigo, and Othello to play their separate pieces in the puzzle that will ultimately mean Desdemona?s death. Iago takes advantage of both Cassio?s yearning for his old position of lieutenant as well as Desdemona?s good-hearted nature in order create the image that Desdemona is being unfaithful with him. Cassio loses his lieutenancy do to his drunkenness and brawl with Roderigo and Montano: ?I love thee, but nevermore be lieutenant of mine? (II,iii,264-265). Dejected, Iago turns to Iago, a self-proclaimed, ?honest man?(II,iii,285), who happens to be nearby. Iago has succeeded in reducing Cassio to a pitiful state; a state in which he will be highly suggestible due to his desperation. Iago first comforts Cassio asserting that, ?Reputation is an idle and most false imposition, oft got without merit and lost without deserving?(II, iii, 287-9), which is ironic since Iago has a reputation as an honest man when he deceives routinely, while Cassio is now considered a wild drunk when in reality he is Othello?s dearest ally. Iago states that, ?Our general?s wife is now the general?(II, iii, 333-4), and that with her as his petitioner his relationship with Othello, ?shall grow stronger than it was before?(II, iii, 344-5). In this scene, Iago masterfully utilizes Cassio?s low tolerance for alcohol, to rob him of his position. He then plants the idea of using Desdemona as his supplicant, on the newly impressionable Cassio. And therein lies Iago?s mastery; he reduces his chessmen to such a state that a mere seemingly well-meaning whisper on his part coaxes them toward his action. Iago?s manipulation of Desdemona occurs through Cassio. He exploits Desdemona?s natural proclivity to help others, toward his dark purpose; he ?turn[s] her virtue into pitch?(II, iii, 380). Iago is a satanic figure who endeavors to pervert that which is pure and good. Through his suggestion to Cassio, Iago can now be certain that Cassio will entreat Desdemona to petition for him with Othello. Cassio does implore Desdemona for he aid and predictably she responds that, ?Be thou assured, good Cassio, I will do all my abilities in thy behalf.?(III, iii, 1-2), and thus Iago?s plan succeeds. Iago will use their interaction to further extend his evil plot. Iago?s suggestions to Othello will cause him to construe Desdemona?s pleas for Cassio, as pleas for her paramour. Each time she suggests, ?[Cassio?s] present reconciliation take?(III, iii, 51), ?she shall undo her credit with [Othello]?(II, iii, 379), further. Thus Iago manipulates Desdemona?s wholesome urge into entreaties who fall as proofs of infidelity on Othello?s ear. Iago also manipulates the undeserving devotion that Emilia shows him. We learn from Emilia at the end of the play that Iago, ?begged [her] to steal?(V, ii, 272), the handkerchief that Othello gave to Desdemona: ?that handkerchief?I found by fortune, and did give me husband?(V, ii, 267-9). Iago?s manipulation of his wife is tragic; she clearly sees his ?wayward?(III, iii, 336) nature, and yet she remains obedient even though she knows that it is her mistress?s, ?first remembrance of the Moor?(III, iii, 335). Like Desdemona?s good nature, Iago exploits Emilia?s devotion toward his malicious goals. He then, ?lose[s] this napkin?in Cassio's lodging?, where it will serve as the ?ocular proof? that Othello demanded before concluding that Desdemona was unfaithful. Thus, as Iago was able to control Desdemona through her character flaw of good will, he is similarly able to bend Emilia to his purpose by exploiting her spousal devotion. In Roderigo?s case, Iago manipulates both his obtuseness, as well as his desperate love for Desdemona. By exploiting Roderigo?s dimwitted nature, Iago is able to attain any monetary resources he wishes. Roderigo?s mental function is also inhibited by his love for Desdemona, which shames him in its strength: ?I confess it is my shame to be so fond, but it is no in my virtue to amend it?. Thus, with the promise that Desdemona might be swayed to divorce Othello and marry Roderigo, Iago procures whatever funds he wishes: ?Thus do I ever make my fool my purse?(I, iii, 426). Roderigo desperately desires Desdemona and is unable to reason that no amount of money will help the situation. Iago seizes upon Roderigo?s inability to draw this conclusion, and slowly bleeds Roderigo?s purse. By simply stating to Roderigo that, ?[Desdemona?s] eye must be fed?(II, i, 246), and that ?Desdemona is directly in love with [Cassio] ?(II, i, 240), he convinces his impressionable cretin. Thus Roderigo simply accepts Iago?s unlikely theory, given Desdemona?s exceedingly chaste nature, without a shred of proof. Iago is a puppeteer that knows just how to play on Roderigo?s weaknesses to produce the desired affect. Iago. Iago?s recognition of Roderigo?s weakness in his love for Desdemona is clear: ?my sick fool Roderigo, whom love hath turn'd almost the wrong side out?(II, iii, 52-54). Iago?s manipulation of Roderigo is indeed perfect; the more he fails in securing Desdemona?s love for Roderigo, the more desperate for it Roderigo becomes. Given that Roderigo threatened to, ?incontinently drown [him]self?(I, iii, 347), his desperation for Desdemona?s love at this point in the play has reached a feverish pitch. In this incapacitated mental state Roderigo accepts Iago?s suggestion that he kill Cassio: ?I have no great devotion to the deed; and yet he hath given me satisfying reasons?(V, i, . Yet in the audience we wonder, what ?satisfying reasons?? Iago has offered only wild conjecture and no proof. Yet, Iago successfully manipulates Roderigo to his purposes, as he and Cassio fight, leaving only Cassio for Iago to deal with. Finally, Iago?s most destructive manipulation of the characters of Othello, is his manipulation of Othello himself. Othello?s insecurities about his race are what Iago uses to bend him to his will. In his discourse to the Duke, Othello?s love seems elevated and pure. It is filled with religious words such as ?pilgrimage? and ?prayer? which demonstrate both the strength and sanctity of their love. Yet, by the end of the play Iago has so poisoned Othello?s soul that he is convinced that, ?[Desdemona] must die, else she'll betray more men?(V, ii, 6). How did this radical change occur? It is Iago?s gentle prodding and toying with Othello. First, Iago uses Othello?s blackness to create doubt in his mind: ?Whereto we see in all things nature tends. Foh! One may smell in such a will most rank, Foul disproportion, thoughts unnatural?(III, iii, 271-273). Also, Iago takes advantage of Othello?s alienation from Venice to create further doubt mentioning that for the women of Venice, ?their best conscience is not to leave undone, but keep unknown?. Othello?s insecurities, Iago knows, will bolster his argument. Desdemona?s very choosing of Othello indicates that there is something wrong with her. Knowing these insecurities reside in the Othello?s mind, Iago begins dropping subtle hints such as, ?I like not that?(III, iii, 37), that he knows will plaque Othello?s mind. Iago immediately repents saying, ?I cannot think it that he would steal away so guiltylike?(III, iii, 41-42), yet he is masterfully planted a seed of doubt in Othello?s mind. As this seed takes root in Othello?s mind Iago need only supply, ?trifles light as air?, which Othello demands from Iago: ?Villain, be sure thou prove my love a whore?(III, iii, 411). Iago, then supplies him with the ?ocular proof? that he demands, ?I know not that: but such a handkerchief,-- I am sure it was your wife's,--did I today see Cassio wipe his beard with?(III, iii, 496-8). And thus, with this sole shred of proof, that Othello does not even see himself, Iago has completely bent Othello to his purpose: ?O, blood, blood, blood!?(III, iii, 512). Thus, because Iago is able to exploit Othello?s insecurities about being black in Venice, he is able to easily manipulate him using only hints and thin proofs. Put out the light, and then put out the light In conclusion, Iago harnesses individual character flaws and situations throughout the play, to serve his own demonic purpose. Indeed, Iago is a satanic character whose manipulations often involve perverting that which is good and moral into a pitifully depraved heap. This theme reverberates throughout the play. Only as the setting moves from Venice to Cyprus, order to chaos, is Iago able to blacken each character?s soul or appearance. In this manner, Shakespeare warns of the corruptibility of society when it veers from the order of a dominant patriarchy.

ESSAY SAUCE

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Essay: The theme of jealousy in the play Othello

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Othello, written by William Shakespeare is the story of sexualized jealousy. Jealousy and envy take a toll on the story from beginning to end. Jealousy is the “green-eyed monster” that is inherently unreasonable. Othello, as well as, the other characters feature jealousy as the dominant motive for their actions. Shakespeare portrays sexual and romantic jealousy, as well as professional jealousy as the evident cause of self-destruction. Othello’s insecurities drive him to be jealous of Cassio. Iago’s jealousy of Othello urges him to shatter Othello’s relationship with Desdemona. Throughout Othello, Shakespeare idolizes that love becomes hate, and hate becomes love. For the characters, the distinction of these feelings is being blurred. Jealousy amongst the characters is the causation for their consequential actions. “In the early modern period, to be envious of something was to want something you did not have, and to be jealous was to fear losing something that you did’ (Olson 8). William Shakespeare proves through his literary work Othello, that if jealousy becomes part of ones’ personality, it can control us and once it does, one loses the ability to ration.

Roderigo is a minor character, who carries out the thematic desire of jealousy. However, Roderigo’s jealousy does not change the way he acts and behaves. His purpose in Othello is carried out through the manipulations of Iago. Iago realizes that Roderigo is in love with Desdemona, so he convinces Roderigo that he can make Desdemona fall in love with him. Roderigo is jealous of Othello for having Desdemona, the girl he thinks he cannot have. Roderigo sees Othello as an opponent, which he has to compete with in order to win Desdemona’s heart. “What a full fortune does the thick-lips owe, / If he can carry it thus,” Roderigo says expressing his emotions of Othello having Desdemona out of luck (Othello 1.1.67-68). It is because of this Roderigo continues to seek Iago’s advice. Iago uses Roderigo’s jealousy to his advantage. Iago persuades Roderigo to confront Desdemona’s father, Brabantio. He tells Roderigo “Call up her father, Rouse him…poison his delights…do, with like timorous accent and dire yell,” (1.1.64-65). Iago is not concerned with how Roderigo truly feels. “His intentions are not to help Roderigo seek Desdemona but to have Brabantio after Othello because it will cause him, Othello, distress” (Putnam 43). Roderigo’s love for Desdemona has clouded his judgment which leads him susceptible to Iago’s manipulation. Roderigo falling into Iago’s plan, is betrayed and killed by Iago, leading to his downfall.

“Iago is a man blinded by envy and anger, with a goal in mind for everyone to become equally jealous, which aim he completes through his betrayal and manipulation of characters” (43). Iago can identify the weaknesses of the other characters and uses their weakness to harvest jealousy within them. Iago provides a distinction of envy and jealousy. He is envious, rather than jealous, of Cassio, who earned the position of lieutenant rather than himself. Iago believes he should have earned the position rather than Cassio because he is more experienced. Iago plans to disrupt and destroy the life of Cassio. While in Cyprus, Iago urges Cassio to drink a lot of alcohol to disprove his position in front of Othello. Iago conceives a plan for Roderigo to attack Cassio. Roderigo falling into Iago’s plan, attacks Cassio, leading to the demotion of Cassio. Iago reveals his evil capabilities after he successfully gets Cassio fired. Iago is however, sexually jealous of his wife Emilia. Emilia is rumored to have been sleeping with Othello. Iago is an inherently jealous character, yet he does not seem convinced: “I know not if’t be true, / But I, for mere suspicion of that kind, / Will do as if for surety” (Othello 1.3.369-72). His jealousy develops which grows into greater hatred for Othello. Iago’s rejection for the position of lieutenant is not the reason for his manipulation. However, it is that Iago wants everyone to feel the jealousy and anger that consumes him. In Iago’s soliloquies, Shakespeare conveys Iago is not driven by reason but by passion. According to Marcia Macaulay, Iago “is consumed by a desire to best those whom he feels rightly or wrongly have wronged him” (4). Iago’s jealous rampage has affected his relationships with Othello, Roderigo, and Cassio. Iago is not affected by jealousy personally, however, his jealousy has affected the other characters. It has destroyed lives and relationships. Iago’s jealousy of Othello and Cassio have made him responsible for the deaths of Emilia, Desdemona, Othello, and Roderigo. William Shakespeare portrays Iago as one of the evilest villains.

Othello is not an inherently jealous character; however, Iago drags out the jealousy within him. Othello is a confident and dignified character; however, the audience sees a transformation in his personality as he begins to use bestial language and make accusations. “Iago so desperately wants Othello to become insane with jealousy, and he initiates this envy and rage by creating lies of Desdemona’s unfaithfulness” (Putnam 45). He conceives a plan and delivers a story of betrayal to Othello in which destroys the matrimony between Othello and Desdemona. Iago does so by deceit and trickery fueling a jealous rage within Othello. Iago learns that Cassio has been appointed lieutenant instead of himself and seeks revenge on Othello. Iago convinces Othello that Desdemona is having an affair with Cassio. Iago chooses Cassio to be the victim because he is consumed with so much jealousy of not being appointed lieutenant. “When initially confronted with Iago’s suspicions, [Othello] boldly rejects the imputation that he possesses a jealous disposition” (Olson 12). However, when Desdemona becomes relentless at dinner about reinstating Cassio Othello’s jealousy grows. “Give me a living reason she’s disloyal,” Othello demands, threatening Iago that he must prove of Desdemona’s affair (Othello 3.3.61). As Othello’s jealousy rages, Iago offers many ‘proofs’ in which is the beginning of his plan to enrage Othello. Desdemona drops a handkerchief which Othello gave her, and Iago uses it for his own deceit. Iago plants the handkerchief in Cassio’s room and proclaims to Othello he has seen Cassio with such a handkerchief. “Othello turns the appraising gaze at himself and begins to doubt Desdemona’s attraction to him” (Olson 14). Othello’s jealousy develops as the audience learns his mind is being controlled by Iago. Iago’s words of Cassio talking in his sleep confessing his love for Desdemona burned into Othello’s brain. Othello’s perception of Cassio has completely changed because of Iago. Othello has ordered Iago to murder Cassio. Pretending to have doubts of Othello’s wish, Iago has asked him to reconsider. In response Othello says:

Never, Iago… Even so my bloody thoughts, with violent pace, Shall ne’er look back, ne’er ebb to humble love, Till that a capable and wide revenge Swallow them up (Othello 3.3.454, 458-461).

Othello has turned his love and respect for Cassio into hatred. Othello has become jealous and begins to suspect Desdemona’s intentions. Iago has power over Othello because of trust, loyalty, and evidence of infidelity. Othello does not need to be jealous but is because he allows Iago to manipulate him. Othello only takes into consideration what Iago has said and presented to him. He had the choice to ask Desdemona of the affair but chooses to trust Iago. Othello’s jealousy has worked him into trance leading him to smothering Desdemona to death. His feelings of love for Desdemona has turned into murderous hatred. As Othello is being consumed by jealousy, he speaks such words, “Yet she must die, else she’ll betray more men” (5.2.7-8). Othello believes he cannot have Desdemona anymore and commits an act of murder so no one can have her. Only after murdering Desdemona, Othello discovers the truth of Iago’s intentions allowing Othello to return to the man he once was. Othello, a tragic hero, takes his own life and asks to be remembered as “not easily jealous.” William Shakespeare has conveyed that personal weakness and insecurities can drive oneself to be incapable of rational thoughts. Shakespeare has portrayed through Othello that jealousy is a personal flaw.

William Shakespeare has explored the theme of jealousy in the play Othello. With Iago, Othello, and Roderigo, Shakespeare conveys the effects of jealousy. Shakespeare portrays how human emotions can be manipulated leading to self-destruction. Jealousy is what drives the character’s lives from beginning to end of Othello. Othello and Roderigo’s jealousy are not self-inherited, rather fashioned by Iago. Othello, written by William Shakespeare conveys a story of sexualized and professional jealousy. Self-inflicted insecurities and self-inherited jealousy are the prominent causes of self-destruction throughout the play. With the characters Othello, Iago, and Roderigo, Shakespeare idolizes love becoming hate, and hate becoming love. To be envious was to want something one did not believe they could have, and to be jealous was to lose something you had. William Shakespeare conveys in Othello, jealousy can consume a person through manipulation, and once it does, a person loses ability to think clearly and reason.

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The Language of Gender Identity

More from our inbox:, power over principle in the g.o.p., upgrading our electric grid, shakespeare’s insights, still relevant today.

To the Editor:

Re “ The Problem With Saying ‘Sex Assigned at Birth, ’” by Alex Byrne and Carole K. Hooven (Opinion guest essay, nytimes.com, April 3):

Mr. Byrne and Ms. Hooven argue that use of “assigned sex” terminology “creates doubt about a biological fact when there shouldn’t be any.” But sex characteristics are not “a biological fact”; they are rather a series of facts — anatomical, hormonal and genetic — that are not always in alignment.

The term “sex assignment” derives from the medical literature of the 1940s and 1950s, in which physicians grappled with what was then called “hermaphroditism” and is now called “intersex” or “D.S.D.,” for disorders or differences of sex development.

To conclude that the words “assigned at birth” are needless is to deny the complexity of biological sex and to erase both the history of intersex conditions and the embodied reality of the people who are born and live with them.

Barbara M. Chubak New York The writer is an associate professor of urology at the Icahn School of Medicine at Mount Sinai.

Transgender people like me do not exist as a topic of rational debate, something to be tossed around in discourse; we are people, and our lives exist far beyond your philosophizing. Articles like this are not only unnecessary, but they are also harmful, patronizing and dehumanizing.

The phrase “sex assigned at birth” is causing no one any harm, and it is not meant to replace “sex.” We are not advocating the end of “male” and “female.”

“Sex assigned at birth” is simply meant to convey the following notion: This individual was born as one sex, but their current body and/or lived experiences may contradict that. It allows trans people the very medical clarity this article claims to strive for. If I, a trans man far into his medical transition, were to walk into a doctor’s office and claim to simply be “female,” utter confusion could follow.

But we should not have to defend ourselves under the guise of rational discourse. We have bigger issues. In Texas, my parents would be possibly liable for child abuse for allowing me to transition as a teenager — so stop treating us as if we do not know what we are talking about.

When people tell you the language that makes them the most comfortable, you use it and move on. You may believe sex to be black and white, as it may be the most convenient reality for you to live in, but for many of us, our bodies are the gray areas.

Max Greenhill New York

I fully agree with this essay: Biological sex is accurately recorded at birth; it is not arbitrarily “assigned.”

The reason activists are pushing the sex-assigned-at-birth terminology is not simply that they want more empathy and inclusiveness for trans persons, but that they want the public to believe that one’s birth sex was, as the authors say, an educated guess at best. If the public accepts that idea, they will be more agreeable to the idea that one’s misassigned sex needs to be corrected later when the individual is old enough to determine their “true, authentic self.”

Most adults don’t care what gender someone declares, but biological sex is a scientific fact. The range of “genders” now being proclaimed is making the whole concept of gender meaningless. Every behavior, feeling, mood, attribute, sexual orientation or social statement does not constitute a gender.

Mark Godburn Norfolk, Conn.

The problem is not that we are confusing the male/female binary; the problem is that the human gender story is bigger than a simple binary, and our language does not reflect that, but it should.

Intersex people exist and have always existed. People whose gender expression doesn’t match their biological presentation exist and have always existed. The authors are correct that language is powerful, but in this case they have the power dynamic exactly backward.

When we adhere to strict binary language, we are asking gender-abundant people to amputate whole parts of themselves. We need to allow people to flourish in the language that fits them.

As my 9-year-old recently explained to my 6-year-old, “You don’t really know what gender a baby is when it’s born, because you know their parts, but you don’t know their heart.”

Meghan Lin St. Paul, Minn.

Thank you, thank you, thank you for publishing this guest essay by Alex Byrne and Carole K. Hooven. In a society inundated with well-meaning absurdities such as “sex assigned at birth” and “pregnant people,” this message desperately needs to be broadcast, received and acted upon.

Mark Featherstone Alameda, Calif.

Re “ Sununu Says Trump ‘Contributed’ to Insurrection, but Still Has His Support ” (news article, nytimes.com, April 14):

Gov. Chris Sununu of New Hampshire now says he will support Donald Trump for president, even as he concedes that Mr. Trump “absolutely contributed” to an attempted insurrection on Jan. 6. Like many of his fellow Republicans, Mr. Sununu has chosen power over principle.

Ethics don’t flash on and off like neon lights. Integrity cannot be situational. And character isn’t a chameleon that shifts to secure political advantage. History will record all the elected officials who embraced Mr. Trump’s mendacity while looking away from the democratic principles they swore an oath to uphold.

Welcome to the club, Governor Sununu.

Maryellen Donnellan Falls Church, Va.

Re “ The U.S. Urgently Needs a Bigger Grid. Scientists Have a Faster Solution ” (Business, April 10):

The nation’s current power lines that were built in the 1950s and 1960s have a 50-year life expectancy, meaning that they have surpassed their intended life span. As the U.S. evaluates how to meet new electric demand, the materials in the grid must not just be replaced, but also efficiently planned and upgraded.

To lower energy costs and improve reliable access to electricity, we should use new technologies that allow more power to be transported across the same size transmission towers that are currently in use. Further, the same amount of power could be transported across smaller, low-impact towers, which could reduce siting and permitting obstacles — thus saving time and money.

Significant transmission capacity is required to meet rising demands on the electrical system, withstand frequent extreme weather events and balance a changing resource mix. Deploying improved technologies in constructing a nationwide transmission grid is key to meeting these needs — because America needs a modern grid now more than ever.

Christina Hayes Washington The writer is the executive director of Americans for a Clean Energy Grid.

With “ O.J. and the Monster Jealousy ” (column, April 14) and “ Trump’s Insatiable Bloodlust ” (column, April 7), Maureen Dowd evokes two of Shakespeare’s greatest characters — Othello and Macbeth — to demonstrate that the playwright’s insights remain as perceptive and significant today as they were more than 400 years ago.

As his friend and fellow dramatist Ben Jonson wrote of Shakespeare, “He was not of an age but for all time!”

Brad Bradford Upper Arlington, Ohio

Hubert Butler Essay Prize announced

Books newsletter: borris and west cork festival line-ups; banagher brontë festival; open mic for gaza; write by the sea; john mcgahern exhibition; commonwealth and jhalak prizes.

Hubert Butler: This year’s Butler essay prize theme is ‘With narratives of conflict currently distorted by misinformation and the substitution of memory for history, what are the chances of reconciliation?’. Photograph: Matt Kavanagh

In The Irish Times this Saturday, Salman Rushdie talks to Keith Duggan about Knife, his memoir about surviving a vicious attempt on his life; Ingrid Persaud tells John Self about her new novel, The Lost Love Songs of Boysie Singh; Nuala O’Connor tells Niamh Donnelly about her latest novel, Seaborne. Peter Murtagh rode his motorbike through North and South America for his travel book, From Tip to Top, and never felt in need of a gun, but writes about how in Texas and Arizona he found intense pressure around the issue. Director Pat Collins discusses his award-winning adaptation of John McGahern’s final novel with Donald Clarke; and there is a Q&A with Leeanne O’Donnell, author of Sparks of Bright Matter.

Reviews are Paul Gillespie on Circle of Stars, A History of the EU and the People Who Made It by Dermot Hodson and Nationalism in Internationalism: Ireland’s Relationship with the EU by by Michael Holmes and Kathryn Simpson; Houman Barekat on Knife: Meditations after an Attempted Murder by Salman Rushdie; Neil Hegarty on Paul Carlucci’s The Voyageur; Declan Burke on the best new crime fiction; Mia Levitin on Choice by Neel Mukherjee; Jessica Traynor on Weathering by Ruth Allen; Chris Cusack on The Axeman’s Cardinal by Catherine Chidgey; Gráinne Lyons on From Tip to Top: The Journey of a Lifetime, From Chile to Alaska by Peter Murtagh; Nadine O’Regan on The Amendments by Niamh Mulvey; Pat Carty on Nuclear War by Annie Jacobsen; Niamh Donnelly on Maggie Armstrong’s Old Romantics; and Sarah Gilmartin on You Are Here by David Nicholls.

This week’s Irish Times Eason offer is Someone Else’s Shoes by Jojo Moyes. You can buy it with your newspaper for just €5.99, a €5 saving.

Eason offer

The Hubert Butler Essay Prize is in its seventh year. Over a period ominously racked by global crisis and conflict, the prize has focussed attention on themes and issues which are central both to Butler’s work, and the world today - such as frontiers, identity, the abuse of political power, coping with the pandemic, and the tension between individual and community values.

This year’s theme is ‘With narratives of conflict currently distorted by misinformation and the substitution of memory for history, what are the chances of reconciliation?’

We wanted to encourage examination of the uses and abuses of history, at a time when deep-rooted antagonisms all round us have taken a particularly toxic form, and also to consider the implications of the tendency to discount ‘history’ in favour of ‘memory’. Butler’s commitment to clarity of thought and his determination to face up to uncomfortable truths has never been more acutely needed, and the essay form - as he showed so consummately - remains uniquely suited for projecting this essential endeavour.

First prize is €1,500 and there are two second prizes of €500. The judges are Roy Foster (chair), Barbara Schwepcke, Catriona Crowe and Nicky Grene. Closing date is June 29th. The winner will be announced on 13th August at a prize giving in Kilkenny, presented by Olivia O’Leary. Entry details here: hubertbutleressayprize.com

The Borris House Festival of Writing & Ideas, which takes place from June 7th to 9th, has launched its schedule. Final tickets are on sale for Friday and Sunday, while Saturday and Weekend tickets have already sold out. festivalofwritingandideas.com

Borris, Co Carlow is home to this annual gathering of writers from all over the world - approximately 80 in total - and the event now features performances of theatre and music as well as its unique and bespoke curated encounters between writers.

Among this year’s big names are Margaret Atwood, Elizabeth Strout, Minnie Driver, Ocean Vuong, Adam Clayton, Jon Ronson, Nick Broomfield, Cerys Matthews, Ruby Wax, Sebastian Barry, Kevin Barry, Lemn Sissay, Peter Francopan, Deborah Levy, Fintan O’Toole, Ciarán Hinds, Neil Jordan, Sinead Gleeson, Emma Dabiri, Anne Enright, Orla Guerin, Fergal Keane, Annie Mac, David O’Doherty, OIivia O’Leary, Anthony Horowitz, Liz Nugent, Roy Foster, Colm Toibin, Misha Glenny, Louise Kennedy, Dylan Moran, Claire Kilroy, Mikel Murfi and Ye Vagabonds.

In a new departure this year, there will be an event on Sunday, June 9th in Dublin, at the Bord Gáis Energy Theatre: Margaret Atwood with special guests musician Laurie Anderson, climate activist and Chair of the Elders Mary Robinson, hosted by broadcaster and writer John Kelly. bordgaisenergytheatre.ie

The West Cork Literary Festival, an eight-day celebration of writing and reading, takes place in and around Bantry from July 12th to 19th. There are master classes, readings, and workshops, as well as interviews with authors, book launches and other events.

Writers taking part this year include Anne Enright, Colm Tóibín, Adania Shibli, David Nicholls, Dolly Alderton, Paul Lynch, Rónán Hession, Eimear Ryan, Theo Dorgan, Andrea Mara, Irvine Welsh, Miriam Margoyles, Elizabeth Day, Caleb Azumah Nelson and Jason Allen-Paisant.

“We have just announced this year’s line-up and we’re delighted by the response so far and by the excitement generated,” said festival director Eimear O’Herlihy. “It feels like West Cork Literary Festival is becoming a destination festival because what could be better than a week in Bantry in the summer with friends, writers and exciting and inspiring conversations happening on stages and in cafes all over town?” Booking for all events is now open on westcorkmusic.ie/LFprogramme or 027 527 88.

The Inaugural Banagher Brontë Festival will be held from this Friday to Sunday, April 19th-21st.

The weekend will open on Friday at 7pm with a premiere of An Evening with Charlotte Brontë devised specifically for the Banagher Brontë Group by Michael and Christine O’Dowd.

All events on Saturday will be held in Crank House starting at 11am with Joanne Wilcock’s talk, Falling in Love with Arthur. Joanne will explore the different opinions and feelings people have had about Charlotte Brontë's husband, Arthur Bell Nicholls.

At midday, Brontë scholar, Pauline Clooney (author of Charlotte & Arthur) will present Currer Bell’s Silent Years 1852-1855, an examination of Charlotte Brontë's paths to publication and her attitude to a writing life, and how, consequently, this attitude illuminates her creative silence from 1852 until her death in 1855.

At 2.30 p.m. Dr. Maebh O’Regan will present The Art of Branwell Brontë. From their earliest years the Brontës were passionate about art and were particularly inspired by the wood engravings of Thomas Bewick.

Further enquiries to James Scully on 085 710 7569 or banagherbrontegroup.com

Open Mic for Gaza

Open Mic for Gaza will be held again on Global Pay It Forward Day, Sunday, April 28th. The online fundraiser will run on Zoom from 7pm-9 pm, featuring a wonderful line-up of special guests including |Michelle Gallen, Catherine Dunne and Juliana Adelman along with 15 open mic readers/performers. All funds raised will go to the Ghassan Abu Sittah Children’s Fund . You can register, donate, and express interest in an open mic slot here .

Write By The Sea, a boutique literary festival held annually in Kilmore Quay, Co Wexford, has secured a publishing partnership with Waterford-based literary journal, The Waxed Lemon.

The four category winners of the 2024 Write By The Sea writing competition will have their work published in the Winter 2024 edition of The Waxed Lemon. Each winner will also receive a prize of €500, plus a free weekend ticket to Write By The Sea festival. Second-place winners in each of the four categories will receive a cash prize of €300 and third-place winners will receive €200. Writers can submit their work now until June 21st via writebythesea.ie/writing-competition/

Joanne McCarthy of The Waxed Lemon said: “Nothing beats seeing your work in print. Write by the Sea is one of Ireland’s most respected literary festivals and we’re really delighted to be joining the judging panel and to be printing the winning entries.”

A Deep Well of Want

A Deep Well of Want: Photographs and Archives of McGahern Country, a new exhibition of photographs by Paul Butler, documents the landscape and passing rural life of Co. Leitrim and surrounding areas – the hinterland of writer John McGahern. It opens as part of Cúirt Festival on April 24th at 4pm-5pm in Room G10, Hardiman Building, University of Galway, with a Q&A discussion with the curators, moderated by Prof Tom Inglis (McGahern Barracks Museum).

Accompanied by archives and literary manuscripts from the John McGahern Archive, held at University of Galway Library, curated by Dr. Barry Houlihan, this exhibition presents a visual and documentary journey through McGahern Country – to the sites, places, words, and ideas that formed a wellspring for the literary imagination of John McGahern.

Opening as part of Cúirt Festival of Literature, the exhibition represents the largest display of manuscripts and materials from the McGahern archive. Combined with the beautifully captured and evocative photographs by Paul Butler, the exhibition is a unique opportunity to explore the visual and the written landscapes of McGahern and of Co. Leitrim.

Twenty-three writers from 13 countries have been shortlisted for the world’s most global literature prize – the Commonwealth Short Story Prize. Writers from three Commonwealth countries – Mauritius, Rwanda and St Kitts and Nevis – have been shortlisted for the first time. The prize is viewed worldwide as a bellwether of new talent and many nominated writers go on to find publishers, agents and other opportunities. Previous regional and overall winners include Sharma Taylor, Kevin Jared Hosein (both from the Caribbean) and Fijian writer Mary Rokonadravu – and this year’s themes are also interesting. One features a young person contemplating gender transition, a quarter are meditations on motherhood, and there are many speculative fiction stories. Five regional winners (for the five regions of the commonwealth) will be announced on 29 May and the overall winner on 26 June.

The Jhalak Prize and Jhalak Children’s & Young Adult Prize 2024 shortlists have been announced. The Jhalak Prize shortlist features exhilarating fiction, a raw snapshot of contemporary multicultural London, beguiling non-fiction about landscape and the natural world, an audacious true crime tale and an award-winning poet.

The Jhalak Children’s and Young Adult Prize shortlist features thought-provoking young fiction, vividly illustrated picture books, a YA thriller and an assured debut for middle grade readers. As with previous years, the shortlists demonstrate the exceptional quality and breadth of work produced by writers of colour, from the UK and Ireland today.

Prize director Sunny Singh said: “Every year, the Jhalak Prize shortlists exemplify literary excellence in contemporary Britain and mark them as future classics. I am in awe of the courage required to tackle difficult themes and ideas coupled with the command of the chosen genre and form demonstrated by our shortlistees. These are books about belonging and its price, about confronting injustice with hope, and about the audacity of trying even in the face of impossible odds. Most of all, these are books about moral courage, which makes the books on our 2024 shortlists necessary, urgent and timeless.”

The shortlist for the Jhalak Prize is: A Flat Place, Noreen Masud; Anansi’s Gold: The Man Who Swindled The World, Yepoka Yeebo; Boundary Road, Ami Rao; Fire Rush, Jacqueline Crooks; Self-Portrait As Othello, Jason Allen-Paisant; Twelve Words For Moss, Elizabeth-Jane Burnett. The 2024 shortlist for the Jhalak Children’s & Young Adult Prize is: Geoffrey Gets the Jitters, Nadia Shireen; How to Die Famous, Benjamin Dean; Safiyyah’s War, Hiba Noor Khan; Steady for This, Nathanael Lessore; To The Other Side, Erika Meza; and Wild Song, Candy Gourlay.

The two winners will be announced at the British Library on May 30th. Each winner will be awarded £1,000 and a specially created work of art as part of the ongoing Jhalak Art Residency.

IN THIS SECTION

Knife by salman rushdie review: living to tell the tale of being saved by love, impossible city: paris in the twenty-first century – a place like no other, cork world book fest turns 20, hagstone by sinéad gleeson: there is a lyricism to this magical and otherworldly debut novel, woman living ‘exotic’ lifestyle given four months to vacate home bought with crime proceeds, family affairs: how ireland’s newly rich are putting money to work in secretive firms, stardust inquests: unlawful killing verdicts returned by jury in each of the 48 deaths in nightclub fire, university changes gender identity policy that said refusal to use pronouns was ‘unlawful’, ex-eirgrid chief faces court action over ‘driving under influence of intoxicant’.

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