William Shakespeare (1564-1616)

If you could take the ultimate field trip and visit Stratford-on-Avon, England—the birthplace

of Shakespeare—you would find buildings still standing and scenes that were familiar to him.

Shakespeare was born during the reign of Queen Elizabeth (the “Elizabethan Era”). At the

age of eighteen, Shakespeare married Anne Hathaway, who was 26 years old. They had three

children—Susanna, and twins, Hamnet and Judith. Hamnet lived only nine years.

There are no records for the years from 1585-1591 that can tell us of Shakespeare’s

whereabouts and activities. Some people believe he may have taught at a school, or spent some

time in Italy. Others believe he went to London to seek his fortune.

Shakespeare can be traced in London from 1592 onwards—first, as an actor, and then as a

writer. By the time he was 28 years old, he had an impressive reputation as a writer. He was also a

shareholder in a theatre group called the Lord Chamberlain’s Men. His financial success came from

shareholdings.

Many of Shakespeare’s plays were performed at the famous Globe Theatre, but he was also

often invited to the private theatres of the nobility and the monarchy. Queen Elizabeth, herself,

was very fond of theatre.

Shakespeare eventually retired in Stratford, buying and settling in a new home which he

called New Place. He died there on April 23, 1616. He is buried in Stratford Parish Church. This is a

modest setting for such a popular and famous writer, but no one has dared attempt to move his

grave site, because the words on his gravestone read:

Good frend for Jesus sake forbeare

To dig the dust enclosed heare

Blese be ye man yt spare these stones

And curst be he yt moves my bones

In his lifetime, Shakespeare wrote 37 plays, 154 sonnets, and two long narrative poems.

April 23 is traditionally celebrated as Shakespeare Day.

London in Shakespeare’s Time

London in the 1590s was a walled, bustling city of about 200,000 people.

There were so many churches that London became known as the City of Churches.

London was a city that grew very rapidly, with narrow, dirty, crowded streets.

There was almost no sanitation; no running water was available, and people rarely bathed.

Houses in London were built close together, making it disastrous when there was a fire. Crime

was rampant; prostitutes, con-men, and pick-pockets frequented areas that were most

crowded, such as theatres.

Since it was the age of exploration, there were many exotic sights, such as clothing from Arab

countries, masks and charms from Africa, goods from China, and strange fruits and vegetables.

London was a port city, and many languages were heard in the streets (including French, Italian,

Spanish, Dutch, and Russian).

Despite the cosmopolitan flavour brought to London, the people mistrusted foreigners.

Attitudes toward continental Europeans, Jews, Muslims, and even Scots, were largely based on

stereotypes that presented foreigners as figures of ridicule or as threats.

Londoners worked long days, and shops were located everywhere imaginable. Clothing was

sold on the London Bridge. Goldsmiths, grocers, fishmongers, and ironmongers also staked out

areas to sell their wares.

Londoners also loved entertainment, and much of it was free. There were water games on the

Thames River, a small zoo in the tower of London, cock-fights, bear-baitings, public executions,

and plays. Queen Elizabeth made frequent appearances, which delighted many Londoners.

Permanent theatres rapidly replaced the old inn-yards and great actors were emerging to form

acting troupes. New playwrights were springing up to supply the theatres with new plays.

Shakespeare arrived in London when the theatres were thriving.

Drama and Style

Drama is meant to be seen, rather than simply read. It is important to try to visualize a play

while reading; bring it alive in your mind, to see and hear the action as if you were watching it at

the theatre.

Issues and themes are embedded in any play. To identify these issues and themes on the

basis of plot alone is not enough. Romeo and Juliet, for example, is not simply about two young

lovers who try to make a life for themselves and fail. Rather, it is through the interactions of the

various characters that Shakespeare weaves a tale of family conflict, rivalry, jealousy, and pride.

The ideas, themes, and issues explored in a play may be expressed directly by the actual

characters. Or, they may be presented indirectly, as the issue around which the characters react.

INTERPRETING CHARACTER

We can understand a play’s meaning by interpreting what the characters say and do:

What do the characters say about themselves?

What do others say about them?

How do they speak?

What do they do when speaking (e.g., gestures, facial expressions)?

What do they do when they are silent?

How do they look?

Do their words match their deeds and motives?

INTERPRETING SETTING

Stage directions also contain information about the setting of a play. A playwright will often

describe the placement of furniture; the size, shape, and colour of the props; and even the style

and colour of the costumes worn by the characters. There may also be instructions as to the level

and shades of the lighting on stage. These descriptions can re-enforce themes and underlying

issues within the play.

Some playwrights use the play’s setting to echo or symbolize what is happening on an

emotional level to the characters. This is called pathetic fallacy. A famous example of this is found

in Shakespeare’s King Lear, when the king’s anguish and madness is echoed in the fury of the

storm raging around him.

UNDERSTANDING STYLE

PROSE AND VERSE

Plays can be written in prose or verse. Prose is by far the more common choice, because it

echoes real speech. But verse can be used to create a particular dramatic effect.

Shakespeare wrote his plays in a combination of verse and prose. The general rule is that

high and noble characters speak in verse, while low or comic characters speak in prose. That being

said, there are many exceptions. Sometimes, Shakespeare used prose for subplots, or to indicate a

character’s madness or highly disturbed emotional state.

When nobles speak in verse, they typically speak in unrhymed “iambic pentameter” (blank

verse). An “iamb” is an unaccented syllable, followed by an accented one. “Penta” means five, and

“meter” refers to a regular, rhythmic pattern. So “iambic pentameter” is a kind of rhythmic pattern

that consists of five iambs per line. It sounds like five heartbeats: ba-DUM, ba-DUM, ba-DUM, ba-

DUM, ba-DUM.

FOR EXAMPLE: fareWELL the TRANquil MIND, fareWELL conTENT

*every second syllable is accented

I’m HUNgry. IS it ALmost TIME for LUNCH?

not YET – the SOUP is HEATing ON the STOVE

ASIDES and SOLILOQUIES

An aside is a stage whisper, or “behind-the-hand” comment. It may directed to another character

or to the audience.

A soliloquy provides the audience with a greater insight into the inner thoughts of a particular

character. Soliloquies allow the character to reveal his or her true feelings, plans, or motives. They

usually occur when a character is experiencing some kind of emotionally or psychologically taxing

experience.

DRAMATIC IRONY

The stylistic device known as dramatic irony allows the audience to know more about the

character’s situation than does the character. The audience can thus foresee an outcome that

differs from the one perceived by the character. This creates tension and anticipation on the part

of the audience.

PLOT STRUCTURE OF A TRAGEDY

EXPOSITION

The introductory section of a play, where

time, place, characters, and the general

situation are presented.

EXCITING (OR INCITING) FORCE

Something happens that gets the action

moving, usually within the first act.

RISING ACTION

Series of events leading up to the climax;

usually spans more than one act.

CLIMAX (TURNING POINT)

The highest point of action in the play.

Change in the protagonist, who seems

now to be following a downward path.

FALLING ACTION

Series of events following the climax; the

conflict is the essence of the play; most

events go against the protagonist.

MOMENT OF FINAL SUSPENSE

Near the end of the play, it begins to look

as if things will go the way of the

protagonist after all.

CATASTROPHE

The complete downfall of the protagonist,

either through death or some other

devastating experience.

Introduction to Shakespeare’s

The Tragedy of Othello, the Moor of Venice

For Shakespeare’s original audience, the title The Tragedy of Othello, the Moor of Venice, would

have instantly suggested a meeting of the familiar and the strange—of East and West. “Venice”

was synonymous with European sophistication. “Moor” was associated with the atmosphere of the

Orient.

In Othello, a Moor, dear to the Senate because he has served the interests of the republic in battle,

marries a virtuous lady named Desdemona. The Venetian lords change the guard in Cyprus and the

Moor—Othello—is chosen as commandant.

Venice was notorious for the number and openness of its courtesans, as well as the laxness of its

wives. It was the pleasure capital of Europe—a city of sexual tourism. Shakespeare’s Desdemona,

however, is an atypical Venetian woman, even as the men in the play exploit the stereotypical

image of Venetian women.

“The Moor”

To Shakespeare and his contemporaries, people known as “Turks,” “Arabs,” and “Moors” all

represented the Islamic “other,” but they were not necessarily blended into a single image of

“barbarianism.” Othello is initially referred to (by Rodorigo and Iago) not by his name, but as “him”

and then “his Moorship,” and then “the Moor.” Depriving a man of his name and referring to him

solely in terms of his ethnic origin is a classic form of racism.

One of the most striking things about Othello is that he is a committed Christian—a religious

convert (from Islam to Christianity). Venice regarded Cyprus as a key Christian outpost against the

Turks, but ironically, in the play, Venice is turned “heathen” from within, rather than without.

There is deep irony in Iago’s proclamation: “Nay, it is true, or else I am a Turk”—for it is Iago who

does the Turkish work of destroying the Christian community. All three major characters invert the

audience’s expectation:

Othello, a Turk, is contrary (in character) to every sense of the word’s use at that time

Desdemona is—contrary to ethnic stereotyping—a Venetian lady who is not lascivious

Iago, a Christian, is a functional Turk

Adapted from An Introduction to Othello, by Eric Rasmussen and Jonathan Bate (2009).

KEY TERMS and CONCEPTS

MOOR: In Shakespeare’s time, “moor” was equivalent to the word “African,” with the

expectation that such a person would be black. “Moor” was not always a derogatory

word. Originally, it meant “native of Mauretania,” a country in North Africa. Over

time, its meaning became more generalized.

ANCIENT: A military rank (also known as “ensign”), properly of a standard-bearer, the man who

carried the flag on the battlefield. Because the flag identified the location of the army

in battle, it was crucial to allowing the soldiers to find their position. The

ensign/ancient had to be extremely courageous and loyal, maintaining his position in

the face of death. Iago is Othello’s ancient, yet he resents his rank, which does not

require intellectual skills like that of Cassio (trained in battle strategy). Iago is third in

command, behind Cassio.

LIEUTENANT: The rank that Cassio holds—literally meaning “place-holder.” Second in command to

Othello, he holds Othello’s place when Othello is absent.

CYPRUS: This island, near Turkey and Syria, was annexed by Venice in 1489 and conquered by

the Turks in 1571 (33 years before Othello was written). The play presents a wish-

fulfilment destruction of the Turkish fleet that leaves the island Venetian. Venice did

in fact undo Turkish sea power that same year in the victory of Lepanto, but it did not

re-conquer Cyprus. So, Shakespeare is working within the framework of actual

history, but not following the events as they actually happened.

VENICE: An oligarchic city-state (power entrusted to very few people) of enormous mercantile

wealth, Venice in Shakespeare’s time was a byword for luxury and culture. It was also

famous for its judicial system. Its trade was partially choked off by the growing power

of the Turkish Empire in the 16th century, which extended into Europe as well as Asia

and Arabia.

*Venice was a Christian state; Turkey was Muslim

Name: _______________________ ENG3U1

Othello – Anticipation Guide

Before reading Othello, respond to each statement by agreeing or disagreeing.

These statements are used to introduce issues and ideas that you may encounter in your reading.

Before Reading Statements After Reading

Agree / Disagree Jealousy is inherent to human nature. Agree / Disagree

Agree / Disagree The consequences of jealousy are often destructive to a relationship. Agree / Disagree

Agree / Disagree A person’s honesty cannot be determined by his or her physical appearance.

Agree / Disagree

Agree / Disagree When a person’s reputation has been tainted, it is difficult to regain respect.

Agree / Disagree

Agree / Disagree Parents know what is best for their children. Agree / Disagree

Agree / Disagree A person’s love can be gained through material wealth. Agree / Disagree

Agree / Disagree In marriage, race and age differences are easily overcome. Agree / Disagree

Agree / Disagree Second-hand information is reliable. Agree / Disagree

Agree / Disagree It is difficult to determine how honest a friend is. Agree / Disagree

Agree / Disagree The military does not have a profound effect on a person’s psyche. Agree / Disagree

Agree / Disagree Any actions are justifiable if they are done out of love for another. Agree / Disagree

Agree / Disagree Young people should have the right to date and marry whomever they choose.

Agree / Disagree

Agree / Disagree Despite what we are told, or what we discover, we should always “turn the other cheek.”

Agree / Disagree

DRAMATIC PURPOSES of a SCENE

A scene in a play may perform one or more of the following functions:

1. To provide information

To give background facts that the audience must know in order to understand a situation; or, to give information about events that, during the play, were supposed to have occurred off-stage

2. To forward the main plot or subplot

To depict the victories and defeats of the protagonist, or to depict some incident or decision that will precipitate further events in the conflict

3. To introduce, reveal, or show development within a character

To reveal the traits or true nature of a character

4. To establish relationships between characters, or to show the development of these relationships

5. To develop “pathos” for a character or to direct an audience’s sympathies away from him/her

To make the audience’s sympathies lie where the dramatist wants them to lie

6. To present a “foil” or contrast in character

7. To establish setting (time and place) or to create atmosphere/mood

8. To establish or reinforce a theme

9. To foreshadow coming events or to create suspense

10. To establish a conflict

To introduce key elements of conflict that will need resolution (person vs. person, society, nature, self)

11. To provide comic relief from tension

To include a scene or passage after a serious incident that is designed to provoke laughter

12. To capture the audience’s attention through a combination of the above

Othello – Dramatic Significance Practice

Instructions

For each quotation, complete the following (*use a lined sheet of paper if more space is needed):

o Identify the speaker

o Provide context (discuss why the character says it, and describe what is happening or what happened)

o Identify and describe the dramatic significance behind the quotation.

(Must have a minimum of 3 points, 3 explanations… all of which are linked to our class note)

ACT I

(iii, 208-210)

“So let the Turk of Cyprus us beguile, We lose it not, so long as we can smile. He bears the sentence well that nothing bears”

ACT I

(iii, 377-382)

“I hate the Moor: And it is thought abroad that ‘twixt my sheets He has done my office: I know not if’t be true, But I, for mere suspicion in that kind, Will do as if for surety. He holds me well, The better shall my purpose work on him”

ACT II

(iii, 129-130)

“I do love Cassio well and would do much to cure him of this evil”

ACT II

(iii, 245-248)

“Reputation, reputation, reputation! O, I have lost my reputation! I have lost the immortal part of myself, and what remains is bestial. My reputation, Iago, my reputation”

ACT III

(iii, 90-92)

“Excellent wretch! Perdition catch my soul, But I do love thee! And when I love thee not, Chaos is come again”

ACT III

(iii, 323-326)

“Trifles light as air Are to the jealous confirmations strong As proofs of holy writ: this may say something. The Moor already changes with my poison”

ACT IV

(iii, 44-47)

“Work on, My medicine works! Thus credulous fools are caught, And many worthy and chaste dames even thus, All guiltless, meet reproach…”

ACT IV

(ii, 138-139)

“The Moor’s abused by some most villainous knave, Some base notorious knave, some scurvy fellow”

ACT V

(ii, 6-10)

“Yet she must die, else she’ll betray more men. Put out the light, and then put out the light. If I quench thee, thou flaming minister, I can again thy former light restore, should I repent me”

ACT V

(ii, 291-293)

“Why, anything: An honourable murderer, if you will, For nought I did in hate, but all in honour”

Othello – Scene Summaries

Act I, Scene i

Roderigo is upset with the news that Desdemona has eloped with Othello.

Iago confesses to Roderigo that he hates the Moor because another soldier, Michael Cassio, has been promoted to lieutenant.

Iago reveals that he only remains in Othello's service to facilitate his plans of revenge.

Iago sees Roderigo as a useful puppet. He tells Roderigo that they should inform Desdemona's father of her marriage to Othello.

Roderigo hopes that her father, Brabantio, will use his political status to see that their marriage is quickly annulled.

Iago knows that the Duke would not jeopardize Othello's desire or ability to fight for Venice in the Turkish wars by punishing him for marrying a Venetian nobleman's daughter.

Othello's punishment for wedding Desdemona is not part of Iago's plan. His plan at the moment is only to make Othello believe that he is a trustworthy confidant.

When Othello is confronted by Brabantio, Iago will be there to lend his counsel and support. Iago and Roderigo stand below Brabantio's bedroom window and Roderigo calls his name.

Brabantio demands to know why they are bothering him at such a late hour.

Roderigo explains that his daughter is in the 'clasps of a lascivious Moor.'

Furious, he demands to know if they have married and when Roderigo answers yes, Brabantio cries 'treason'. Act I, Scene ii

Cassio arrives with news that the Duke requires Othello at an urgent war meeting.

Brabantio and Roderigo enter and Brabantio lashes out at Othello: "O thou foul thief, where hast thou stow'd my daughter?"

Othello responds to the verbal attack with grace and dignity. Brabantio demands that Othello go to prison.

Othello calmly tells him that he cannot for the Duke needs him at once.

Brabantio decides to take the matter to the Duke, since he is already awaiting Othello. He is sure that the Duke will brand Othello a

criminal as he has done, sure that his is "not an idle cause" (I.ii.95).

Act I, Scene iii

The Duke and his senators gather in the council chamber. They are concerned with the news that a Turkish fleet is planning an

attack on Cyprus, which is governed by Venice.

They are discussing a counter attack which will be led by Othello, when Brabantio comes storming in, accusing Othello of

corrupting his daughter, Desdemona, with "spells and medicines bought of mountebanks."

Othello describes to the Duke the real way in which he won Desdemona's heart.

Desdemona reveals that she did fall in love with Othello for the "visage in his mind" (252).

She begs to be allowed to go with Othello to Cyprus. Othello entrusts Iago with her safe passage: "Honest Iago/My Desdemona

must I leave to thee" (I.iii.295).

Iago assures Roderigo that Desdemona's love for Othello is fleeting and that, if Roderigo will come to Cyprus, he will continue

scheming to break up the newlyweds. Roderigo agrees and leaves to make preparations to sail for Cyprus.

Once alone, Iago reveals phase two of his evil plan: the destruction of Michael Cassio, the soldier who received the promotion

from Othello. He will make Othello believe that Cassio is Desdemona's secret lover, thereby ruining his enemies with one lie.

Act II, Scene i

Montano, the Venetian governor, and his friends discuss a tempest that might have destroyed the Turkish fleet.

A messenger comes in with the news that the enemy ships have indeed been pulled under by the waves.

Cassio arrives, confirming that Othello cannot be located. One ship does land, carrying Iago, Desdemona, Roderigo, and Iago's wife,

Emilia, who has come to look after Desdemona.

Desdemona is shaken with fear for her husband, but she is brave and steady, and keeps her worry to herself.

Out of great concern for Othello's safety, Cassio takes Desdemona by the hand.

Iago delights in this overt display of affection that he will use against them.

A trumpet sounds and to everyone's relief Othello enters. He greets Desdemona with a kiss and addresses the crowd, proposing a

great feast in celebration of the Venetian victory.

Iago tells Roderigo that Cassio is also in love with Desdemona and that, to help their plans, Roderigo should pick a fight with Cassio

while he is on duty. This will hurt Cassio's reputation, ruin his friendship with Othello, and keep him from Desdemona.

Act II, Scene ii

On a street in Cyprus a herald announces the great victory feast and party that Othello has planned.

All the soldiers have full liberty to make merry until eleven o'clock that evening, at which time they must return to their posts. Act II, Scene iii

Othello, Desdemona, and Cassio speak briefly about Iago. Othello tells Cassio that Iago is "most honest."

Othello and Desdemona leave and Iago comes in to join Cassio. Iago asks him to partake in a glass of wine.

Cassio agrees, but insists that he have only a little, for he has "no brains for drinking".

Reason gives way to temptation and soon Cassio is drunk.

Although he should know better, Cassio takes his post as usual.

Iago sends Roderigo to engage Cassio in the fight and within moments the two come bursting back into the hall

They duel until Othello rushes in and demands that they stop. D

Disappointed and angered by Cassio's behavior, Othello dismisses him from duty.

Othello leaves and Iago convinces Cassio that, in order to regain Othello's favour and his position as lieutenant, he must persuade Desdemona to speak to Othello on his behalf.

Cassio leaves, confident that Iago's plan will work to restore his friendship with Othello.

Iago is also sure that his plan will be a success, but with much different results.

Iago’s intent is to make it appear that Desdemona is pleading for her long-time lover.

Act III, Scene i

Outside the castle, Cassio has gathered some musicians in the hopes of putting Othello in a good mood.

Cassio asks Emilia if she will grant him access to visit Desdemona.

Iago overhears and offers to fetch Desdemona at once. Desdemona agrees to an interview with Cassio and Emilia shows him to Desdemona's chamber.

Act III, Scene ii

Othello makes plans to inspect some parts of the fortifications built by his troops.

The purpose of this scene is to explain why Othello is not initially present when Desdemona meets with Cassio.

Iago had planned to concoct a story to ensure Othello was absent for Cassio's visit, but luck has made Iago's job easier indeed. Act III, Scene iii

Cassio asks Desdemona to speak to Othello and convince him that he is still a trustworthy soldier and friend.

Desdemona does not hesitate to help because she knows how deeply Cassio and Othello feel for one another.

Othello returns to the castle and first greets Iago. They go together to see Desdemona and they catch a glimpse of Cassio leaving out the back entrance.

Under his breath, Iago is quick to add "Ha! I like not that" (III.iii.34). Othello asks what Iago means by such a statement.

Iago, in the midst of administering his first dose of poison, replies "Cassio, my lord?/No sure, I cannot think it/That he would steal away so guilty-like/Seeing you coming" (III.iii.37-40).

Desdemona rushes over to Othello and immediately begins to plead for Cassio.

So adamant is she that Othello agrees to a future meeting with Cassio to begin a reconciliation: "Prithee no more. Let him come when he will/I will deny thee nothing (III.iii.75).

Happy with Othello's answer, Desdemona leaves the garden and with Iago and Othello alone.

Iago plays upon Othello's insecurities, reminding him that Cassio is younger and more handsome and is a white Venetian citizen.

Othello is convinced of Desdemona's betrayal. He chooses the words of Iago over his trust in his wife, and declares "my relief must be to loathe her." (III.iii.268).

Desdemona enters with Emilia to call Othello for supper. He tries to hide his inner turmoil but Desdemona can tell that he is troubled. He complains that he has a headache.

Desdemona pulls out a handkerchief embroidered with strawberries and lovingly puts it to his head, but he pushes it away and it falls to the ground.

For some time Iago has asked Emilia to steal Desdemona's handkerchief and now, alone in the garden, she has the opportunity.

Iago enters and Emilia proudly shows him the handkerchief. Once alone, Iago reveals what he intends to do with it.

Desdemona's treachery consumes Othello’s thoughts and he lashes out at Iago, demanding immediate proof of her betrayal.

Iago makes up a story that placed him outside Desdemona's chamber a short time before, and he tells Othello that he heard Desdemona professing her love to Cassio.

Othello rages "I'll tear her to pieces" and Iago adds that he has seen Cassio with Desdemona's handkerchief. Othello cries for "blood! blood! blood!" (III.iii.451) and kneels before his confidant, Iago, taking a vow of revenge.

Act III, Scene iv

In front of the castle Desdemona and Emilia meet the Clown, a servant to Othello.

Desdemona asks him where Cassio might be, and he says that he will search for him.

Desdemona is distraught over her missing handkerchief and tells Emilia that she would have rather lost anything else she owns.

Othello arrives and cunningly asks Desdemona to lend him the handkerchief, and she replies that she cannot.

He tells her the history of the handkerchief, and packs his tale with implied accusations.

He next tells her that, if the handkerchief were misplaced, it would be an irrevocable loss.

Now afraid of the consequences, she lies to Othello and assures him that it is not lost.

Othello grows more angry and storms out of the room in a rage.

Iago and Cassio enter and Cassio asks Desdemona if she continues to plead his case before Othello, and she admits that she cannot because she too has fallen out of favour with her husband.

She promises to discuss Cassio with Othello when she is again on good terms with him.

Desdemona and Emilia leave and Cassio stays behind to talk to Bianca, his lover, who has just come out of the castle.

Bianca chides him for not giving her the attention she deserves.

He pulls out the handkerchief that Iago planted in his chamber and asks Bianca if she will make a copy of the embroidered pattern, for he finds it very beautiful.

Act IV, Scene i

Iago and Othello continue their discussion of Desdemona's adultery.

Although to the audience it appears that they have resumed where they left off at the end of Act III, Shakespeare hints that much time has elapsed and that Iago used those missing hours and days to pollute further Othello's mind.

Iago tells Othello that Cassio has admitted to having sex with Desdemona.

Othello, overcome with rage, spirals into incoherent hysteria.

He collapses in a trance-like state, oblivious to the outside world.

Iago delights in his victory: "Work on/My medicine, work" (IV.i.44-5).

Cassio enters and Iago pretends that he has information about Othello but they must discuss it later.

Cassio leaves and when Othello regains his composure, Iago tells him that he will work a confession out of Cassio if Othello will secretly listen to their conversation.

When Cassio comes back, Iago asks him about Bianca, and he replies that he knows that she loves him but that "She is persuaded I will marry her out of her own love and flattery/not out of promise" (IV.i.127-9).

As expected, Othello thinks that Cassio is referring to Desdemona. Bianca comes in holding Desdemona's handkerchief. Livid, she tells Cassio that she was a "fine fool" to take the "minx's token." She demands he give the handkerchief back to the woman it belongs to, whom she assumes is Cassio's lover.

Othello steps out of the shadows. His rage has metamorphosed into cool hatred as he calmly asks: "How shall I murder him, Iago?" (IV.i.166). He resolves also to murder Desdemona for her betrayal and discusses with Iago the best way to be rid of her.

Iago wants the privilege of killing Cassio himself and he will report back to Othello before midnight.

Desdemona appears with Lodovico, her kinsman, who brings word from the Duke that Othello must return to Venice and that Cassio will be placed in charge of the soldiers in Cyprus. When Desdemona openly expresses her happiness for Cassio's promotion, Othello strikes her, screaming "Devil!".

Desdemona says that she will leave Othello's presence for fear she will anger him more.

Lodovico, surprised at Othello's behavior, asks him to call her back.

Othello does, only to brand her a devious manipulator in front of Lodovico.

Othello orders her away and storms off to prepare for his trip back to Venice.

Lodovico wonders if this is the noble Moor whom the senate believes to be a master of all situations.

Iago tells Lodovico that he has changed much and that his treatment of Desdemona is at times even worse. Act IV, Scene ii

Othello questions Emilia about her knowledge of Desdemona's affair.

She tells him that she has heard nothing that would be considered suspicious in the least.

She begs Othello to put such thought out of his mind at once, because Desdemona is as true and loyal a wife as any woman could be. She adds, "If any wretch have put this in your head/Let heaven requite it with the serpent's curse!" (IV.ii.15-6).

When Desdemona enters, Othello coolly asks her to come to him. He calls her “false as hell” and labels her a strumpet/whore.

Desdemona is stunned when she realizes what she is being accused of, and she can only deny the charges against her.

Later, Emilia asks Desdemona if she is alright and she replies that she cannot tell if she is awake or dreaming.

Iago comes into the room, and Desdemona begs for his counsel.

Iago tells her that a matter of state is weighing heavy on Othello's mind and he assures her that all will soon be well.

She leaves the room and Iago immediately sends Roderigo to kill Cassio.

Act IV, Scene iii

Othello is gathered with Desdemona, Emilia, and Lodovico.

While Desdemona gets ready for bed, she asks Emilia how any woman could do what she herself is falsely accused of doing.

Emilia replies that she can certainly understand why women sometimes cheat on their husbands and, considering the way men treat their wives, it is oftentimes wholly justifiable.

After Emilia leaves, Desdemona prays that the poor way in which she has been treated by Othello will teach her, not to hate or seek revenge, but to forgive and improve upon her own faults.

Act V, Scene i

Iago positions Roderigo to ambush Cassio.

Roderigo stands in the shadows with his sword ready, and Iago watches close by, mentioning to the audience that he hopes each one will kill the other so that he will not have to return Roderigo's money and jewels.

Cassio appears and Roderigo attacks him, but Cassio's thick coat shields him from the point of the rapier.

Cassio strikes Roderigo, wounding him, and Iago is forced to crouch down and stab Cassio in the leg.

Othello arrives, and he is delighted to see what he believes is the corpse of Cassio.

Iago comes out of the dark and pretends to be shocked by the chaos.

Cassio is very much alive and he identifies Rogerigo as one of his attackers.

Iago, aware he must silence Roderigo for good, expresses his outrage at the attack and stabs Rogerigo in a fit of supposed righteous indignation. Roderigo cries "O damn'd Iago! O inhuman dog!" (V.i.63), and dies.

Act V, Scene ii

Desdemona is sleeping peacefully when Othello enter with a lantern.

He stands for a long while at the foot of her bed, staring at her, overcome with feelings of love.

Othello kisses her one last time and she awakens and sweetly asks her husband to come to bed.

He orders her to say one final prayer and to prepare for death.

She begs him to tell her what she has done and he reveals it is because she gave his handkerchief to her lover, Cassio.

She pleads with him to fetch Cassio who will support her innocence, but he says the Cassio is dead.

He smothers Desdemona where she lay.

Othello draws the curtains on Desdemona's bed to hide his heinous deed and lets Emilia in.

Desdemona, not quite dead, lets out a faint cry professing her innocence one last time.

Emilia demands to know who has hurt her, and even now Desdemona loves Othello enough to protect him.

Desdemona dies, and Othello cowardly denies that he has murdered her.

Emilia does not believe him and he at last blurts out that he is guilty, but only of sending a "liar gone to burn in hell!"

Montano and Iago run into Desdemona's chamber, and Othello again speaks of the handkerchief.

Emilia tells Othello that Iago made her steal the handkerchief, and, beginning to comprehend the terrible truth, he lunges at Iago, but is promptly disarmed by Montano.

Iago grabs Emilia and stabs her, much to the dismay and shock of Montano.

As she lay dying, Emilia remembers Desdemona's song and confirms that she was chaste and in love only with the "cruel Moor."

Iago runs away and the men chase after him, leaving Othello by himself.

When Iago is brought back, Othello stabs him.

Othello asks for forgiveness from Cassio, who is now in the room, and Cassio obliges.

More information about Iago's plot is revealed in a letter left by Roderigo and picked up by Cassio as he lay on the street.

Othello gives a final speech and pulls out a dagger he has hidden well. He stabs himself and falls dying next to Desdemona.

Othello’s last words are to Desdemona: “I kiss'd thee ere I kill'd thee. No way but this/Killing myself, to die upon a kiss." (V.ii.358-9)

Othello: Ultra Condensed

Iago: Your wife's cheating on you.

Othello: She is? (kills wife). Oops. She wasn’t, really.

THE END