1. So, your friend tells you that
your boyfriend has been
getting down and dirty with
another lady…
What are you going to do?
a) Kill the b*****d!
b) Cry and think deep,
philosophical thoughts about
your own existence?
c) Go on the Jerry Springer show
and let the depths of humanity
bask in your freaky life

2. What We Will Need for this Topic
Hamlet
(The Arden Shakespeare,
Third Series)
Othello
(Arden Shakespeare, Third
Series)
Bring both
texts to
every
lesson!

3. Review- Your Question
Explore how Shakespeare presents weaknesses
and tragic flaws in Hamlet and Othello
How is your
Hamlet essay
going?

4. Learning Objective: To understand the plot and
key characters of Othello
I know lots of
different things
about Othello
I can compare
Shakespeare’s
themes in
Othello to
Hamlet
I can use my
knowledge to ask
whether Hamlet
or Othello is the
definitive tragic
hero
This is our
success
criteria

5. What does each tell you about the play? Think about plot,
character and possible themes.

6. What do we know?
• What do we know about Othello already?
Othello is one of Shakespeare's most popular plays. There are all sorts of reasons for
this but perhaps the main one is that the basic story still strikes a chord with modern
audiences. We see what happens when a man, Iago, is passed over for promotion. He
is determined to get revenge and starts to manipulate everyone around him. Iago's
general, Othello, is tortured by jealousy and one small item, a missing handkerchief,
leads to distrust, broken friendships, murder and suicide.
The play's themes also seem very up to date - they cover all sorts of things, like the role
of women, love, jealousy, ambition and betrayal. However, perhaps the most
challenging theme from the play is race - Othello is black and has married a white
woman. There are lots of references to this and Shakespeare shows how complex the
situation was even in his lifetime.
Why is Othello still
studied today?

7. Othello – The Summary
• Read the summary of the play
• Answer the following questions:
– Name the three main characters of the play and
their relationship
– Why does Iago plot the downfall of Othello?
– What are your impressions of Othello?
– Who dies throughout the play and how does each
character meet their demise?
– Do you feel sorry for Othello?
– What are Othello’s weaknesses?
Need help? Watch this…

8. Construct Meaning – Mime Othello in
a Minute!
• In groups of three, you must mime the entire
play of Hamlet in a minute.
• Choose what are the most important
elements of the play and get through them as
quickly as you can.
• Try to base your mime on one quotation if
possible...

9. Othello Quotes
“O, beware, my lord, of jealousy;
It is the green-ey'd monster, which doth mock
The meat it feeds on. That cuckold lives in bliss,
Who, certain of his fate, loves not his wronger:
But O, what damnèd minutes tells he o'er
Who dotes, yet doubts, suspects, yet strongly loves
“The robb'd that smiles, steals something from the thief; He
robs himself that spends a bootless grief.”
“Reputation is an idle and most false imposition; oft got
without merit, and lost without deserving”
“How poor are they that have not patience! What wound did
ever heal but by degrees?”
“For she had eyes and chose me.”
“Excellent wretch! Perdition catch my soul But I do love thee!
and when I love thee not, Chaos is come again.”
“Thou weigh'st thy words before thou givest them breath.”
“It is silliness to live when to live is torment, and then have we
a prescription to die when death is our physician.”
“I kissed thee ere I killed thee. No way but this,
Killing myself, to die upon a kiss.”
“I would not put a thief in my mouth to steal my brains.”
“Rude am I in my speech, And little blessed with the soft
phrase of peace.”
“She lov'd me for the dangers I had pass'd,
And I lov'd her that she did pity them”
“Tis within ourselves that we are thus or thus”
“Good name in man and woman, dear my lord,
Is the immediate jewel of their souls:
Who steals my purse steals trash; ’tis something, nothing;
’twas mine, ’tis his, and has been slave to thousands;
But he that filches from me my good name
Robs me of that which not enriches him,
And makes me poor indeed.”
“But I will wear my heart upon my sleeve
For daws to peck at: I am not what I am.”
“what cannot be saved when fate takes, patience her injury a
mockery makes”
“So will I turn her virtue into pitch,
And out of her own goodness make the net
That shall enmesh them all. ”

10. Character List (10 mins)
• Read through the character list on the second
page
• Create a family tree conveying the
relationships between each character
• Add a little bit more information than just
their name
Think of five adjectives to
describe the personalities
of the three main
characters.

11. Othello Themes – 15 minutes
• With a partner, start mind mapping some of
the themes that you see emerging already.
• Approaching texts thematically is an effective
way of thinking about texts.
• Use the character list to help you keep track of
characters
• Mind map using specific ideas.
• Extension – how are the themes similar to
Hamlet?

12. Compare to Modern Texts
• Which other texts share these themes?
• Can we see any elements of Othello’s
character in modern texts?
• Do you think if Othello was modernised it
would be a popular play/film?

13. Final Question…
How is Othello a tragic hero?

14. Othello as a Tragic Hero
A tragic hero is a person who initially is well-respected and holds a high esteem within
society. They are of high moral worth and are highly ambitious in what they set out to
achieve. A single mistake or character flaw can, however, bring them to ruin, with a
loss of everything that they possess. In the discussion of whether Othello fits the role
of a tragic hero, the following concepts need to be considered. Firstly, as befitting a
tragic hero, Othello holds an important role. He is well-respected and admired by all.
Secondly, through a character flaw and the added complication of external forces
working against him, he suffers a dramatic fall from grace. He loses all that he held
dear- his wife, his status, his position, and the respect held by others of him. Finally,
despite his actions, there is a lesson to be learnt and the audience are compelled to
maintain some feeling of sympathy towards him.
The sympathy of the audience towards Othello's character is largely due to his lack of
understanding of the unforeseen evils in the world around him. These evils are
personified by Iago. Othello's nobility, morals, values/ideals, all play a part in the
unravelling of his personality.
Iago whose equivocal but evil deception/manipulation of Othello's emotions presents
the audience with a strong-willed but fragile character. Othello appears ill-equipped to
understand a character such as Iago, and this gains the audiences sympathy. If we are
to accept that a tragic hero is one that possesses the image of valour, nobility and
honour, but in weakness cannot contain the manipulation of those mannerisms, then
in the end we must come to the conclusion that he is indeed a tragic hero.

15. Othello as a Tragic Hero
Othello was blinded towards Iago's manipulating words and believes
his false accusations of Desdemona's adultery with Cassio. Othello's
blindness is clearly illustrated in the following quote:
" ...My friend thy husband; honest, honest Iago.....“ (Act 5, Scene 2- line
153)
Even those around Othello such as Emilia were able to see Iago's lies,
that Othello could not see. This is evident in the following quote:
"You told a lie, an odious damned lie Upon my soul, a lie, a wicked lie. She
false with Cassio? Did you say with Cassio?“ (Act 5, Scene 2- line 186)
Othello took the love that he had for Desdemona for granted because
he trusted one of his men (Iago) more than his own beloved wife.
" She's like a liar gone to burning hell, t'was i that kill'd her" (Act 5, Scene
2- line 133)
By killing Desdemona, whom he loved, Othello certainly loses some of
the sympathy of the audience and we find it difficult to recognise such
actions as heroic.

16. To be a tragic hero, the hero /character must be considered worthy, and he must hold a position of authority and
respect. The tragedy takes place when he falls from this position. Through the text, it is clear Othello was revered
as a man who was a worthy soldier and highly respected. The Duke calls him "the Valiant Othello" and one of the
senators refer to him as "the brave moor". It can also be seen that the men under his command hold him in high
esteem, with Cassio referring to him as "Our Great Captain". In the end the view of Othello is very different, due
to his tragic flaw of jealousy and pride, Othello was adressed as a viper by Lodovico, and was thought to be
cowardly.
"Oh then Othello, that were't once so good, and fallen in the practice of a damn slave".
The way he was referred to before his fall, and then after, shows that he was once of noble birth, but then fell.
This unfortunate fall meant that Othello himself has lost his high position, and respect from his men, and even
the people who commands him. Othello had fallen so far that a man that he had previously commanded was the
man who took that authority away.
"That's he that was Othello: here i am where is the viper? Bring the villain forth".
Othello's loss of respect can be seen by Desdemona's pleading with him, while she lay on the bed just as her
beloved husband is about to kill her.
"And yet i fear you, for you are fatal then".
She has lost all the respect that she once held for him, and now no longer trusts him, but fears him. These points
display that Othello has fulfilled a requirement of a tragic hero.
The personal problems of Othello overwhelmed him and so became one of the causes of his blindness. Othello is
oblivious to the fact that Iago is taking advantage of his fatal flaw of jealousy.
"Oh beware jealousy: it is the green-eyed which doth mock that which meet it, feed on. The cuckold lies in bliss".
This quote from Iago proves that he knows Othello more than Othello knows himself, and so, takes advantage of
his personal flaw, using it to his own, deadly advantage.

17. Welcome Back!
• Ask your neighbour the following questions:
1. What was your favourite thing about English last
year?
2. What skills have you yet to master?
3. What did you read over the summer?
4. What do you think you will study in English this
year?
5. What grade do you think you will achieve at the
end of the year?

18. I’ve had a busy summer!

19. Learning Objective: To revise the plot and key
characters of Othello
I know lots of
different things
about Othello
I can compare
Shakespeare’s
themes in
Othello to
Hamlet
I can use my
knowledge to ask
whether Hamlet
or Othello is the
definitive tragic
hero
This is our
success
criteria

20. Who the Devil is Othello?
Things you find:
- Shocking
- Emotions
- Lies/ deceit
- Tragic
Extension – annotate
your feelings/ response
for each.
Re-read your
Plot Synopsis.
Highlight the following
in different colours/
ways:

21. Features of traditional tragedy
• Chorus- The chorus offers a variety of background and summary
information to help the audience follow the performance. It comments on
themes, and shows how an ideal audience might react to the drama. The
chorus normally presented this through song.
• Prologue- All traditional tragedies begin with an opening speech to
introduce the play, usually explaining the context and meaning of what is
to follow.
• Protagonist- The central character of the play who suffers misfortune.
• Antagonist- Character who is instrumental in the protagonist’s downfall.
• Hamartia - the downfall of the tragic hero is caused by hamartia. This isn't
a wilful act in violation of the laws of the gods, but a mistake or excess.
• Hubris - Excessive pride can lead to the downfall of the tragic hero.
• Peripeteia - a sudden reversal of fortune.
• Catharis - ritual cleansing and emotional cleansing by the end of the
tragedy.
• Dramatic Irony- happens when the audience knows what is going to
happen but the actor is still ignorant.

22. Setting
• Where it all happens …
Act 1:
civilisation
Acts 2 – 5:
A dangerous outpost which is
threatened by heathens (Turks)

23. When was it set?
Late sixteenth century, during the
wars between Venice and Turkey

24. Those Involved …
Define in
one
sentence

31. Others that may need to be
considered…
• Montano – Othello’s predecessor in the
government of Cyprus
• Bianca – mistress to Cassio
• Duke of Venice

32. The Challenge!
You need to answer the following questions:
• Who is in love at the start of the play?
• Who is motivated to take revenge against
Othello?
• How is Othello poisoned against Desdemona –
as many details as possible!
• What is the evidence that convinces Othello of
his wife’s unfaithfulness?
• How does Othello learn of Desdemona’s
innocence?

33. Plot Synopsis
Key words:
Othello
Desdemona
Iago
Love
Unfaithful
Kill
Write your own plot
synopsis in the style of
either:
a. A Victorian writer
b. A really over-enthusiastic
news
reader
c. A rapper

34. Plenary
Write a question
that you have
about the play
Describe Othello in 3 words
Name the 3 most important events
in the play

35. Learning Objective: To analyse the language in
Shakespeare’s Othello
I know lots of
different things
about Othello
I can compare
Shakespeare’s
themes in
Othello to
Hamlet
I can use my
knowledge to ask
whether Hamlet
or Othello is the
definitive tragic
hero
This is our
success
criteria

36. Look closely at this image.
Note down as many implied meanings / inferences
as you can about Iago, Othello and their
relationship.

37. The close proximity between the men shows an intimate
relationship and trust.
Iago appears to be whispering into Othello’s ear, implying
that he is discussing something secretive.
Othello is passive listening but his facial expression reveals
rage and disappointment. He is victim to Iago’s lies.
Dramatic irony – the audience is tense as they watch Othello
become tormented by the suspicion of his wife’s betrayal.
Did we pull
out some of
these
ideas?
Annotate for LAYERS OF
MEANING

38. “O beware my lord of jealousy!
It is the green eyed monster”
Monster – a creature to be feared
Iago warns Othello against jealousy
Monster – imaginary creatures that do not really exist
Dramatic irony – the audience knows that the affair is a lie
and does not exist!
Inferring meaning
= looking deeper,
under the surface
Annotate for LAYERS OF
MEANING

39. Summary of Act III, Sc III
• Desdemona, Cassio, and Emilia enter mid-conversation. Desdemona has
just vowed to do everything she can on Cassio’s behalf when Othello and
Iago enter. Cassio quickly departs, protesting to Desdemona that he feels
too uneasy to do himself any good. Othello asks whether it was Cassio he
saw leaving the room, and Iago responds that surely Cassio would not
behave like a guilty man at Othello’s approach.
• Desdemona entreats Othello to forgive Cassio and reinstate him as
lieutenant. Othello assures her that he will speak to Cassio, but he
answers evasively when she tries to set a meeting time. She criticizes
Othello for responding to her request so grudgingly and hesitantly, and he
tells her that he will deny her nothing but wishes to be left to himself for a
little while.
• Alone with Othello, Iago begins his insinuations of an affair between
Cassio and Desdemona by reminding Othello that Cassio served as Othello
and Desdemona’s go-between during their courtship. Othello asks Iago
whether he believes Cassio to be honest, and Iago feigns reluctance to
answer. Iago plants in Othello’s mind thoughts of adultery, cuckoldry, and
hypocrisy, until Othello screams at the ensign to speak his mind. Iago
suggests that Othello observe his wife closely when she is with Cassio.

40. • Othello tells Iago to have Emilia watch Desdemona
when she is with Cassio. Iago appears to retreat from
his accusations and suggests that Othello leave the
matter alone. But he has already made his point. By
himself, Othello muses that his wife no longer loves
him, probably because he is too old for her, because he
is black, and because he doesn’t have the manners of a
courtier. “She’s gone,” he laments (III.iii.271).
• Desdemona and Emilia enter to inform Othello that he
is expected at dinner. Othello says that he has a pain in
his forehead, and Desdemona offers to bind his head
with her handkerchief. Othello pushes her handkerchief
away, telling her that it is too small. The handkerchief
drops to the floor, where it remains as Othello and
Desdemona exit. Emilia, staying behind, picks up the
handkerchief, remarking that her husband has asked
her to steal it at least a hundred times. Iago enters, and
Emilia teases him with the promise of a surprise. He is
ecstatic when she gives it to him, and sends her away.

41. Summary of Act III, Sc III
• As Iago gleefully plots to plant the handkerchief in Cassio’s room, Othello
enters and flies into a rage at him. Othello declares that his soul is in
torment, and that it would be better to be deceived completely than to
suspect without proof. He demands that Iago bring him visual evidence
that Desdemona is a whore. Iago protests that it would be impossible to
actually witness Desdemona and Cassio having sex, even if the two were
as lustful as animals. He promises that he can provide circumstantial
evidence, however. First, he tells Othello that while Cassio and Iago were
sharing a bed, Cassio called out Desdemona’s name in his sleep, wrung
Iago’s hand, kissed him hard on the lips, and threw his leg over Iago’s
thigh. This story enrages Othello, and Iago reminds him that it was only
Cassio’s dream. Iago then claims to have witnessed Cassio wiping his
beard with the handkerchief Othello gave Desdemona as her first gift.
Furious, Othello cries out for blood. He kneels and vows to heaven that he
will take his revenge on Desdemona and Cassio, and Iago kneels with him,
vowing to help execute his master’s vengeance. Othello promotes Iago to
lieutenant.

42. How does Iago do it?
Having dropped his hint about Cassio, Iago moves onto the key
moment of his endeavour. He’s got to make sure that Othello
trusts him, and he also needs Othello to think that Iago is
telling him his ‘suspicions’ for his own good.
Read through the scene and find evidence of where Iago:
• asks questions but doesn’t draw any conclusions
• destabilises Othello by repeating him
• makes an emotional appeal to Othello
• stresses the idea of uncertainty
• reminds Othello that he is his employee, not his friend
• downplays his ‘supposition’
• uses generalisations to rouse Othello’s suspicion
• anticipates a problem in his plan.

43. Analysing Othello’s Language
Why, why is this?
Think'st thou I'ld make a lie of jealousy,
To follow still the changes of the moon
With fresh suspicions? No; to be once in doubt
Is once to be resolved: exchange me for a goat,
When I shall turn the business of my soul
To such exsufflicate and blown surmises,
Matching thy inference. 'Tis not to make me
jealous
To say my wife is fair, feeds well, loves
company,
Is free of speech, sings, plays and dances well;
Where virtue is, these are more virtuous:
Nor from mine own weak merits will I draw
The smallest fear or doubt of her revolt;
For she had eyes, and chose me. No, Iago;
I'll see before I doubt; when I doubt, prove;
And on the proof, there is no more but this,--
Away at once with love or jealousy!
How does Othello feel at
this point of the scene?
How does he view
Desdemona?
What language features are
used?
What images are created?

44. Analysing Othello’s Language
This fellow's of exceeding honesty,
And knows all qualities, with a learned spirit,
Of human dealings. If I do prove her haggard,
Though that her jesses were my dear heartstrings,
I'ld whistle her off and let her down the wind,
To pray at fortune. Haply, for I am black
And have not those soft parts of conversation
That chamberers have, or for I am declined
Into the vale of years,--yet that's not much--
She's gone. I am abused; and my relief
Must be to loathe her. O curse of marriage,
That we can call these delicate creatures ours,
And not their appetites! I had rather be a toad,
And live upon the vapour of a dungeon,
Than keep a corner in the thing I love
For others' uses. Yet, 'tis the plague of great ones;
Prerogatived are they less than the base;
'Tis destiny unshunnable, like death:
Even then this forked plague is fated to us
When we do quicken. Desdemona comes:
If she be false, O, then heaven mocks itself!
I'll not believe't.
How does Othello feel at
this point of the scene?
How does he view
Desdemona?
What language features are
used?
What images are created?

45. Analysing Othello’s Language
O, that the slave had forty thousand lives!
One is too poor, too weak for my revenge.
Now do I see 'tis true. Look here, Iago;
All my fond love thus do I blow to heaven.
'Tis gone.
Arise, black vengeance, from thy hollow cell!
Yield up, O love, thy crown and hearted throne
To tyrannous hate! Swell, bosom, with thy fraught,
For 'tis of aspics' tongues!
O, blood, blood, blood!
Never, Iago: Like to the Pontic sea,
Whose icy current and compulsive course
Ne'er feels retiring ebb, but keeps due on
To the Propontic and the Hellespont,
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. Now, by yond marble heaven,
In the due reverence of a sacred vow
I here engage my words.
Damn her, lewd minx! O, damn her!
Come, go with me apart; I will withdraw,
To furnish me with some swift means of death
For the fair devil. Now art thou my lieutenant.
How does Othello feel at
this point of the scene?
How does he view
Desdemona?
What language features are
used?
What images are created?

46. Analysing Act III, Sc III
• The timing of events is very important in Act III. Iago anticipates and manipulates
the other characters so skilfully that they seem to be acting simultaneously of their
own free will and as Iago’s puppets. For example, it takes only the slightest
prompting on Iago’s part to put Othello into the proper frame of mind to be
consumed by jealousy—Iago exploits Cassio’s discomfort upon seeing Othello by
interpreting it as a sign of guilt. Iago’s interpretation of Cassio’s exit, combined
with Desdemona’s vigorous advocating on Cassio’s behalf, creates suspicion in
Othello’s mind even before Iago prompts Othello. Othello manifests his confusion
about his wife by telling her that he wishes to be left alone, and by spurning her
offer of help when he tells her that he feels unwell.
• When Desdemona advocates on Cassio’s behalf, she initiates the first real onstage
conversation she has had with her husband throughout the play. She also displays
her strong, generous, and independent personality. In addition to his burgeoning
suspicion, Othello’s moodiness may also result from his dislike of Desdemona
herself. Only once Desdemona has left does Othello recover somewhat: “Excellent
wretch!” he says affectionately. “Perdition catch my soul / But I do love thee, and
when I love thee not, / Chaos is come again” (III.iii.91–93). Othello seems far more
comfortable expressing his love for Desdemona when she is absent. Perhaps this is
because her presence makes him conscious of her claim upon him and of his
obligation to honor her requests, or perhaps this is because he is more in love with
some idea or image of Desdemona than he is with Desdemona herself. The lines
just quoted indicate how much his image of her means to him: if he stops loving
her, the entire universe stops making sense for him, and the world is reduced to
“Chaos.”

47. Analysing Act III, Sc III
• Given how much is at stake for Othello in his idea of Desdemona, it is remarkable
how he becomes completely consumed by jealousy in such a short time.
Moreover, it takes very little evidence to convince him of her unfaithfulness. All
Iago has to do to Othello is make him doubt Desdemona, and jealousy spreads like
a virus until he rejects her absolutely. Notably, Iago, too, has no evidence that
Othello has slept with Emilia, but the suspicion or doubt seems to have been
sufficient to make him spurn Emilia and persecute Othello. As Othello says, “[T]o
be once in doubt / Is once to be resolved” (III.iii.183–184).
• Othello soon learns, however, that to be once in doubt is to be never resolved. He
leaves the stage briefly after the episode in which he rejects Desdemona’s
handkerchief, at which point he seems resolved that his wife no longer loves him.
A mere forty lines later, he returns, and all he can think about is garnering proof of
her infidelity. The paradox in Othello’s situation is that there are few things—the
nature of friends, enemies, and wives included—that a human being can know
with certainty. Most relationships must be accepted based on faith or trust, a
quality that Othello is unwilling to extend to his own wife. All Iago really has to do
to provoke Othello is to remind him that he doesn’t know for certain what his wife
is doing or feeling. Iago’s advice that Othello “[l]ook to [his] wife. Observe her well.
. . .” appears harmless at first, until one considers how out of the ordinary it is for a
husband to “observe” his wife as if she were a specimen under a microscope
(III.iii.201). For a man to treat his wife as a problem to be solved or a thing to be
known, rather than as a person with a claim upon him, is simply incompatible with
the day-to-day business of being married. Othello’s rejection of his wife’s offering
of physical solace (via the handkerchief), and his termination of the exchange in
which Desdemona argues for Cassio, thereby asserting a marital right, clearly
demonstrate this incompatibility.

48. Analysing Act III, Sc III
• Ironically, Iago doesn’t have to prove his own fidelity to Othello for Othello to take
everything Iago suggests on faith. On the contrary, Othello actually infers that Iago
holds back more damning knowledge of Desdemona’s offenses out of his great
love for Othello. Again and again, Iago insists that he speaks out only because of
this love. His claim, “My lord, you know I love you” (III.iii.121) even echoes Peter’s
insistent words to Christ, “Lord, thou knowest that I love thee” (John 21:15–17).
• Othello’s rejection of Desdemona’s offer of her handkerchief is an emphatic
rejection of Desdemona herself. He tells her he has a pain “upon” his forehead and
dismisses her handkerchief as “too little” to bind his head with, implying that
invisible horns are growing out of his head. Horns are the traditional symbol of the
cuckold, a husband whose wife is unfaithful to him. Othello’s indirect allusion to
these horns suggests that the thought of being a cuckold causes him pain but that
he is not willing to confront his wife directly with his suspicions.
• The end of Act III, scene iii, is the climax of Othello. Convinced of his wife’s
corruption, Othello makes a sacred oath never to change his mind about her or to
soften his feelings toward her until he enacts a violent revenge. At this point,
Othello is fixed in his course, and the disastrous ending of the play is unavoidable.
Othello engages Iago in a perverse marriage ceremony, in which each kneels and
solemnly pledges to the other to take vengeance on Desdemona and Cassio. Just
as the play replaces the security of peace with the anxiety of domestic strife,
Othello replaces the security of his marriage with the hateful paranoia of an
alliance with Iago. Iago’s final words in this scene chillingly mock the language of
love and marriage: “I am your own forever” (III.iii.482).

49. Key Quotes
• Collate key quotes that show Othello as the
following:
– Jealous
– Angry
– Vengeful
– Tragic

50. Language Features
Figurative language / Imagery
simile
metaphor
extended metaphor
personification
iambic pentameter
alliteration
dramatic irony
hyperbole
foreshadowing
repetition
tone
rhythm – flowing, staccato?
Sound: harsh or mellifluous (quiet, gentle, melodious)? Guttural or
sibilant (hissing sound)?
Now make a
record of these
features in
your exercise
book!

51. Analysis
Write a paragraph about how
Shakespeare presents Othello in
the lines 260-333 of Act 3 Scene 3
of the play.

52. A model to help…
The words ________ , ________ and _________ suggest
that Iago is ______________ . This is also implied when
he uses language like ___________ and _____________.
This has the effect of making an audience feel
_______________.
In Act 3 Scene 3 Shakespeare presents Cassio as
desperate for Othello’s forgiveness. The words “my
general”, “love” and “service” suggest Cassio admires
Othello. This is also implied when he uses language like
“true servant” when he thanks Desdemona for helping
him. This has the effect of making the audience feel
sympathy for Cassio and we hope that Othello forgives
him.

53. Exploring Imagery
Othello, the dynamic character in the play,
has undergone a significant and irreversible
transformation within a single scene.
Turn to your
partner and sum
this change up in a
sentence.

54. Exploring Imagery
What IMAGERY occurs in the play?
30 seconds – discuss with your partner.
Now: answers on a whiteboard please…

55. Images that occur in the play:
Hell and
the devil
Diabolical
Poisoning
Physical pain/
violence/
blood
Black and
white
Animals -
Bestial
Heaven
Sexual /
physical
functions/
parts
War
Exploring Imagery

56. Exploring Imagery
Study Othello’s language in lines 333- end closely.
Select 5 powerful images that he uses to express his
feelings for Desdemona.
Write these quotations into your book and for each,
sketch an image that captures the metaphor (or
other device).

57. Exploring Imagery
Select one of your images.
Use a post-it note to cover to one of the quotations
(but leave the image in view).
Get up and move to someone’s work across the room
(not your partner).
Look at the image. Can you guess the quotation?
Write the quotation on the post-It note. THEN check
– were you correct?

58. Analysing Othello’s Language –
Torment
Emotive
Descriptive
Sometimes bombastic
Calm, and confident
Dignified blank verse
Imagery concerns sea or heavens – reflects propensity toward chaos/uncertainty
This language reflects his lofty ideals.
Heroic Language – powerful, dramatic, images that know no bounds – sky, heaven, hell, death or
fate.
His language later becomes chaotic, showing signs of madness. Sentences become fragmented and
he uses more obscenities. His language is broken and he is prone to violent outbursts.
His language only returns to its former majesty at the end of the play after he realises what he has
done.

59. Timeline
If you’re happy with your
key quotes from this scene,
move on to the next slide.
Act 3 Scene 3 – Othello’s Language Change

60. Analysing Iago’s Language – Villainy
Manipulative
Manufactures expressions for persuasive effect
Imagery is terse and dry
Bestial images – esp. of animals mating (ewes, horses, goats, monkeys, dogs)
Iago often speaks in prose (esp. when manipulating Roder.)
Images of base physical functions
Images of money and trade
This language reflects the depravity of his mind.
Anti-Heroic Language – plain, direct, ironically understated.
Iago remains in control of language throughout the play.
He skilfully uses insinuations, subtle hints, questions and indirect accusations.
PERSUSIVE TECHNIQUES - hyperbole, repetition, withholding information, questioning, vulgar
imagery, personification;

61. Similarities in language
Othello’s language starts to become more depraved as his jealousy grows –
he then starts to use Iago’s imagery (e.g bestial, diabolical)
Both characters use images of war and soldiers – Othello sees the glory of
war, Iago views war as an economic venture. This shows Othello’s courage
and idealism in contrast to Iago’s self-interested character.
:

62. Learning Objective: To analyse the catharsis in
Shakespeare’s Othello
I know lots of
different things
about Othello
I can compare
Shakespeare’s
themes in
Othello to
Hamlet
I can use my
knowledge to ask
whether Hamlet
or Othello is the
definitive tragic
hero
This is our
success
criteria

63. Summary of Act 5, Sc 2
• Holding a candle, Othello stands over the sleeping Desdemona and prepares to kill
her. He bends down to kiss her once before he does the deed, she wakes, and he
tells her to prepare to die. Growing frightened, Desdemona asks her husband why
he means to kill her, and Othello responds that she has been unfaithful to him with
Cassio—he has seen the proof in the handkerchief. Othello refuses to believe
Desdemona’s denial of the charge, saying that Cassio has confessed but will speak
no more, since he has been killed by Iago. Desdemona begins to weep for Cassio,
which only drives Othello into a greater rage. Wrestling with her as she begs to be
allowed to live just a little longer, Othello finally succeeds in smothering his wife.
Emilia calls from outside the door, and Othello, apparently delirious, confuses her
cries with his wife’s and concludes that Desdemona is not yet dead. Thinking
himself to be merciful, and not wanting to have his wife linger in pain, he smothers
her again.
• Othello draws the bed curtains and lets Emilia in. Emilia informs Othello that
Cassio has killed Roderigo. Othello asks if Cassio has been killed as well, and Emilia
informs him that Cassio is alive. As Othello begins to realize that his plans have
gone awry, Desdemona cries out that she has been murdered. She stays alive long
enough to recant this statement, telling Emilia that she was not murdered but
killed herself. She dies. Othello triumphantly admits to Emilia that he killed
Desdemona, and when she asks him why, Othello tells her that Iago opened his
eyes to Desdemona’s falsehood. Unfazed by Othello’s threat that she “were best”
to remain silent, Emilia calls out for help, bringing Montano, Graziano, and Iago to
the scene (V.ii.168).

64. Summary of Act 5, Sc 2
• As the truth of Iago’s villainy begins to come out through Emilia’s accusations,
Othello falls weeping upon the bed that contains the body of his dead wife. Almost
to himself, Graziano expresses relief that Brabanzio is dead—the first news the
audience has heard of this—and has not lived to see his daughter come to such a
terrible end. Othello still clings to his belief in Iago’s truth and Desdemona’s guilt,
mentioning the handkerchief and Cassio’s “confession.” When Othello mentions
the handkerchief, Emilia erupts, and Iago, no longer certain that he can keep his
plots hidden, attempts to silence her with his sword. Graziano stops him and
Emilia explains how she found the handkerchief and gave it to Iago. Othello runs at
Iago but is disarmed by Montano. In the commotion, Iago is able to stab his wife,
who falls, apparently dying. Iago flees and is pursued by Montano and Graziano.
Left alone onstage with the bodies of the two women, Othello searches for
another sword. Emilia’s dying words provide eerie background music, as she sings
a snatch of the song “Willow.” She tells Othello that Desdemona was chaste and
loved him.
• Graziano returns to find Othello armed and defiant, mourning the loss of his wife.
They are joined shortly by Montano, Lodovico, Cassio, and Iago, who is being held
prisoner. Othello stabs Iago, wounding him, and Lodovico orders some soldiers to
disarm Othello. Iago sneers that he bleeds but is not killed. He refuses to say
anything more about what he has done, but Lodovico produces a letter found in
Roderigo’s pocket that reveals everything that has happened. Seeking some kind of
final reconciliation, Othello asks Cassio how he came by the handkerchief, and
Cassio replies that he found it in his chamber.

65. Summary of Act 5, Sc 2
• Lodovico tells Othello that he must come with them back to
Venice, and that he will be stripped of his power and
command and put on trial. Refusing to be taken away
before he has spoken, Othello asks his captors, “When you
shall these unlucky deeds relate, / Speak of me as I am”
(V.ii.350–351). He reminds them of a time in Aleppo when
he served the Venetian state and slew a malignant Turk. “I
took by the throat the circumcised dog / And smote him
thus,” says Othello, pulling a third dagger from hiding and
stabbing himself in demonstration (V.ii.364–365). Pledging
to “die upon a kiss,” Othello falls onto the bed with his
wife’s body (V.ii.369).
• Lodovico tells Iago to look at the result of his devious
efforts, names Graziano as Othello’s heir, and puts
Montano in charge of Iago’s execution. Lodovico prepares
to leave for Venice to bear the news from Cyprus to the
duke and senate.

66. Read the Scene
• Read Act 5, Sc 2 and look for the following:
– Othello angry and jealous
– Othello confused
– Othello sorry for his crime
– Othello’s last words
– How Emilia describes Othello’s personality
– How others describe Othello’s crime

67. Analysing Act 5, Sc 2
• As Othello prepares to kill Desdemona at the beginning of the final scene, the idea
of killing her becomes curiously intertwined, in his mind, with the idea of taking
her virginity. In Act V, scene ii, he expresses his sorrow that he has to kill her in
terms that suggest his reluctance to take her virginity: “When I have plucked thy
rose / I cannot give it vital growth again. / It must needs wither” (V.ii.13–15). He
steels himself to kill her, but he refuses to “shed her blood” or scar her white skin,
which is as “smooth as monumental alabaster.” His words imply that the real
tragedy is the loss of her virginity, which would leave her irretrievably spoiled.
Ironically, despite being convinced of her corruption, part of him seems to view
her as still intact, like an alabaster statue or an unplucked rose. Furthermore, the
reader may recall that the all-important handkerchief is dyed with the blood of
dead virgins. The handkerchief’s importance to Othello may suggest that he thinks
it is better for a woman to die as a virgin than live as a wife.
• Although it seems ludicrous to suggest that Othello has not yet taken Desdemona’s
virginity, the play includes two scenes during which their marriage is supposed to
be sexually consummated, and in both the couple is interrupted as Othello is
called on to resolve a crisis. This is only, it seems, the couple’s third night together,
and Desdemona has asked that her wedding sheets be put on the bed. The
wedding sheets would prove one way or another whether the marriage was
consummated, depending on whether they were stained with blood. Desdemona’s
choice of the sheets for a shroud may suggest that they are unstained. If they have
consummated their marriage, Othello’s words may suggest his unwillingness to
accept the fact that he has already taken Desdemona’s virginity, and his jealous
fantasies about Desdemona’s supposed debauchery may stem from his fear of her
newly awakened sexuality, and from his own feeling of responsibility for having
awakened it.

68. Analysing Act 5, Sc 2
• After Desdemona wakes, the scene progresses in a series of wavelike rushes that
leave the audience as stunned and disoriented as the characters onstage. For
starters, Desdemona seems to die twice—Othello smothers her once, then
smothers her again after mistaking Emilia’s screams from outside for his wife’s.
Astonishingly, Desdemona finds breath again to speak four final lines after Emilia
enters the bedroom. Similarly, Emilia’s death appears certain after Iago stabs her
and Graziano says, “[T]he woman falls. Sure he hath killed his wife,” and then,
“He’s gone, but his wife’s killed” (V.ii.243, 245). Yet, eight lines later, Emilia speaks
again, calling, “What did thy song bode, lady?” (V.ii.253). She speaks another five
lines before dying for good.
• Before he kills himself, Othello invokes his prior services to the state, asking
Lodovico and the other Venetians to listen to him for a moment. At this point, he is
resolved to die, and his concern is with how he will be remembered. When he
appeals to his listeners to describe him as he actually is, neither better or worse,
the audience may or may not agree with his characterization of himself as one not
easily made jealous, or as one who loved “not wisely but too well” (V.ii.353). As he
continues, though, he addresses an important problem: will his crime be
remembered as the fall from grace of a Venetian Christian, or an assault on Venice
by an ethnic and cultural outsider? He stresses his outsider status in a way that he
does not do earlier in the play, comparing himself to a “base Indian” who cast
away a pearl worth more than all of his tribe (V.ii.356–357). Finally, he recalls a
time in which he defended Venice by smiting an enemy Turk, and then stabs
himself in a reenactment of his earlier act, thereby casting himself as both insider
and outsider, enemy of the state and defender of the state.

69. Analysing Act 5, Sc 2
• Throughout the play, Shakespeare cultivates Othello’s ambivalent
status as insider and outsider. Othello identifies himself firmly with
Christian culture, yet his belief in fate and the charmed
handkerchief suggest ties to a pagan heritage. Despite the fact that
his Christianity seems slightly ambiguous, however, Shakespeare
repeatedly casts Othello as Christ and Iago as Judas (or, ironically, as
Peter). (See analysis of Act I, scene ii, and Act III, scene iii.) These
echoes of the Gospel suggest that Othello and his tragedy are
somehow central to the Christian world of Venice. Moreover, while
most modern editions of the play include the words “base Indian”
(V.ii.356), the First Folio edition actually says “base Iudean” (i.e.,
Judean), possibly implying that Othello compares himself to Judas.
The play’s rich biblical references suggest that Othello is both Christ
and Judas, a man who sacrifices himself to expiate the Venetians’
guilt as well as his own. What larger crime Othello’s suicide atones
for, however, the audience can only conjecture.

70. Timeline
Act 5 Scene 2 – Othello’s Language Change

71. Analysis
Write a paragraph about how
Shakespeare presents Othello in
Act 5 Sc 2 of the play.

72. Plenary
• How is Othello’s tragic flaw similar to and
different from Hamlet’s?

73. OBJECTIVE
Learning Objective: To begin the planning process
for the Othello section of our essay
I know Othello’s flaws
I can identify and
explain how Othello is
using language to show
these flaws
I can analyse how the
language used by Othello
conveys his tragic flaw
This is our success criteria of the day

74. Othello’s Tragic Flaws
Explore how Shakespeare presents weaknesses
and tragic flaws in Hamlet and Othello
Just like our spiffing Hamlet essays, we need
three parts to show how Othello is/isn’t a
tragic hero.
What could these three sections be?

75. Three Part Essay
What can our three parts be?
• Part A: His love for Desdemona
• Part B: Naivety from Iago’s corruption
• Part C: His jealousy and anger towards
Desdemona
Explore how Shakespeare presents weaknesses
and tragic flaws in Othello
You can
obviously
choose
different
ones!

76. AO1 - Key Quotes for Each Part
• Now find as many quotes as possible which
link to your sections
• Remember to use all the resources available
to you:

77. AO1 - Beautiful Statements
There’s a reminder on the following slides
• Using the beautiful sentences from last term,
now create six statements (two for each section)
Part A: His love for Desdemona
– Our first impressions of Othello are that he is entirely
infatuated with his wife, and that ‘She loved [him] for
the dangers [he] had pass'd, / And I loved her that she
did pity them.’
– On the exterior, Othello appears desperate for
revenge against his wrongly-accused wife, yet on the
interior we can infer that he feels a deep sense of
anxiety for the consequences of his action.

78. Beautiful Sentences
1. Reader response
The reader is caught between…
The reader is caught between empathy for Hamlet and frustrated by his inability to act on his vengeance.
2. Peeling away the layers of characterisation
On the exterior____________, yet on the interior we can infer__________.
On the exterior, Hamlet appears desperate for revenge against the King who has murdered his father, yet on
the interior we can infer that he feels a deep sense of anxiety for the consequences of his action.
3. Character motives
________is motivated not only by___________________ but also by _____________________________.
Claudius is motivated not only by his ambition to become king, but also by his desire to please Gertrude.
4. Character development
By the close of the play/poem/novel the once _____________ has developed into_______________________ .
By the close of the play, the once apprehensive and procrastinating Hamlet has developed into a tragic hero
ready to murder the King and avenge his father.
5. Reader positioning
(The writer) positions the reader/audience in favour of /against _____ by
__________________________________________ .
Shakespeare positions the audience against Claudius by revealing his arrogant and ambitious nature in the
early scenes.

79. Beautiful Sentences
6. First impressions
Our first impressions of ___________________________________ . (x3)
Our first impressions of Hamlet are that he is emotional, philosophical and cast in
‘nightly colours’ and ‘inky cloaks’.
7. Weighing up the importance
Even though/although ________________________________,
________________________________________.
Even though Gertrude behaves at times like a cruel temptress, by the end of the novel
we realise that she is a victim of a harsh, misogynist world.
8. Deepening analysis
At first glance ________________________________; however, on closer inspection
______________________________.
At first glance the family appear to be respectable members of society; however, on
closer inspection, we can already sense the rift between mother and son.

80. Beautiful Sentences
9. Identifying a common thread
Throughout the novel/poem/play ______________________________________________________________.
Throughout the play, Shakespeare explores the tragic flaws of indecision, doubt and the demanding quest for
knowledge in a variety of ways.
10. Identifying the main thing
The most important word/sentence/idea/chapter/moment is _________________ because
________________________.
The most important word from this line is ‘might’ because it emphasises the element of possibility and choice
in Hamlet’s will to kill the King.
11. Close language analysis
Here, _________employs the word/phrase ‘__________’ to suggest/imply/reinforce
____________________________.
Here, Hamlet employs the phrase ‘I’ll do it’ to reinforce the idea that Hamlet still lacks confidence in his ability
to avenge his father as he almost seems to be psyching himself up to kill the King.
12. Exemplifying an idea through a character/setting/event
__________ reveals her/his belief in _____through her/his description
of______________________________________.
Stevie Smith reveals her belief in the cyclical nature of war through her description of the ‘ebbing tide of
battle’.
13. Contrasting alternative viewpoints
Some readers might propose that__________________; other readers, however, might
argue________________________.
Some readers might propose that Shakespeare’s portrayal of Shylock was cruel and unfair; other readers,
however, might argue that Shakespeare was simply reflecting the views of the society he lived in.

81. Beautiful Sentences
14. Noting subtleties
Here, the writer
cleverly________________________________________________________.
Here, Shakespeare cleverly employs the gruesome image of flesh melting into
dew to remind the reader once again of Hamlet’s dark depression.
15. Proposing a tentative idea
Perhaps, (writer’s name) was hinting that
______________________________________________________.
Perhaps Shakespeare was hinting that Hamlet’s bitterness towards Ophelia
was because ultimately he know he would have to die to avenge his father,
thus sparing the heartbreak of grieving for the dead Prince.

82. AO2 - Zooming In and Out
• For each quote write a brief inference and explore two
different connotations
Example: I must weep, / But they are cruel tears: this sorrow's
heavenly; / It strikes where it doth love.
– He is devastated that he must kill his wife.
– The modal auxillery verb ‘must’ suggests that Othello no longer
has any power over his own feelings
– The personification of ‘cruel tears’ depicts how heart-broken he
is.
– ‘Sorrow’s heavenly’ connotes that God and heaven are attacking
him.
– The violent and aggressive verb ‘strikes’ infers links to how he is
the victim in this situation.

83. AO2 – Dramatic Effect on the Audience
Now choose two short
quotes and analyse the
effect the language has
on the audience
How does this
word/phrase/image
make the audience feel
towards Hamlet?

84. AO4 - Context
How does your Othello section link to the
historical, social and cultural context of the
Elizabethan and Jacobean society?

85. Exit Ticket
On a post-it note, write which area of the essay
you are least confident with:
– Beautiful statements that answer the question
– Finding accurate and supportive quotations
– Zooming in and out on the language
– Analysing the effect on the reader
– Relating the play to the historical and social
context