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Plot Synopsis
Stage History of Othello
Shakespeare's Sources for Othello
Othello Character Study
Iago Character Study
General Essays on Othello
Othello Essay Topics

How to Cite this Article

PLAY HISTORY
According to the Accounts of the
Master of Revels (published in 1842), Othello was performed in 1604. The full entry reads: "By the King's Majesty's Players. Hallowmas Day, being the first of November, a play in the banqueting house at Whitehall called '"The Moor of Venice'." Other evidence supports the fact Shakespeare wrote the play in or before 1604. As William Rolfe explains in his book A Life of William Shakespeare:
Stokes (Chronological Order of Shakespeare's Plays) shows that it was written before 1606 by the fact that in the quarto of 1622 (i.1.4) we find the oath "S'blood" (God's blood), while this is omitted in the folio. This indicates that the quarto was printed from a copy made before the act of Parliament issued in 1606 against the abuse of the name of God in plays, etc. So "Zounds" and "by the mass" (in ii.3) are found in the quarto but not in the folio. (293)
Eighteen years passed before Othello was first put into print in 1622 by Thomas Walkley. Walkley's was a quarto edition, known as Q1, and it was the last Shakespearean edition of a single play before the collected edition, known as the First Folio collection by Heminge and Condell, in 1623. Othello was one of Shakespeare's most popular plays throughout the 17th century. The preface to the first quarto tells us that the play "had beene diverse times acted at the Globe, and at the Blackfriars by his Majesties Servants", and the Allusion Book records that from 1591 to 1700, Hamlet is referred to most often in contemporary literature at 95 times, while Othello is fifth with 56 references (Brooke 176). The famous Renaissance actor Richard Burbage was the first Othello, and was amazing in the role, according to tributes made to Burbage after his death in 1619. Through the Restoration and Queen Anne periods a number of great actors played the role of Othello, but only one was able to live up to Burbage: Thomas Betterton. Colley Cibber wrote that Betterton was "an actor as Shakespeare was an author, both without competitors, formed for the mutual assistance and illustrations of each other's genius". We have no record of the first Iago, but Joseph Taylor, an actor with the King's Men from 1619, was acclaimed in the role of the voluble villain, and during the Restoration Michael Mohun's portrayal of Iago was extremely popular. One performance of Othello, produced in 1660, starred an actress by the name of Margaret Hughes in the role of Desdemona. This production is of particular importance because it marked the first time a woman was accepted on the English stage. Before this, all the characters, whether male or female, were played exclusively by men.

Othello remained very popular throughout the 18th and 19th centuries, and many of the most brilliant actors of the time sought the role of the Moor -- the most famous being Edmund Kean, the great tragic thespian, who also gave noted performances as Richard III, Macbeth, Lear, and Hamlet. His son, Charles John Kean, was also an actor and theatre manager. During one performance of Othello at Covent Garden in 1833, Edmund Kean collapsed on stage into the arms of his son who was playing Iago, and died a few weeks later. Junius Brutus Booth was another noted nineteenth century Shakespearean actor who brought a strong interpretation of the Moor to America. William C. Macready played Othello and Iago, as well as all of Shakespeare's other great creations. He was the first to pay specific attention to Othello's moorish garb. In the early 20th century the most acclaimed portrayal of Othello was by Paul Robeson, the distinguished actor and civil rights advocate. Robeson won the Donaldson Award for outstanding lead performance in 1944 for Othello, and the American Academy of Arts and Letters medal in 1944, to name but a couple. James Earl Jones and Laurence Olivier have also made memorable the character of Othello. Othello has made the transition from stage to film over twenty times this century, and from stage to television at least five times. The most recent adaptation for the big screen, starring Laurence Fishborne and Kenneth Branagh, opened in 1995.


SOURCES
The main source for Othello is the novella
The Hecatommithi, written in 1565 by the Italian author, Cinthio. A minor source is Leo Africanus' A Geographical History of Africa. The following is from the translation by John Pory (1600):

The commendable actions and vertues of the Africans

The Arabians which inhabite in Barbarie or vpon the coast of the Mediterran sea, are greatly addicted vnto the studie of good artes and sciences: and those things which concerne their law and religion are esteemed by them in the first place. Moreouer they haue beene heretofore most studious of the Mathematiques, of Philosophie, and of Astrologie: but these artes (as it is aforesaid) were fower hundred yeeres agoe, vtterly destroyed and taken away by the chiefe professours of their lawe. The inhabitants of the cities doe most religiously obserue and reuerence those things which appertaine vnto their religion: yea they honour those doctours and priests, of whom they learne their law, as if they were petie-gods. Their Churches they frequent verie diligently, to the ende they may repeat certaine prescript and formal prayers; most superstitiously perswading theselues that the same day wherein they make their praiers, it is not lawfull for them to wash certaine of their members, when as at other times they will wash their whole bodies. Whereof we will (by Gods helpe) discourse more at large in the second Booke of this present treatise, when we shall fall into the mentioning of Mahumet and his religion. Moreouer those which inhabite Barbarie are of great cunning & dexteritie for building & for mathematicall inuentions, which a man may easily coniecture by their artificiall workes. Most honest people they are, and destitute of all fraud and guile; not onely imbracing all simplicitie and truth, but also practising the same throughout the whole course of their liues: albeit certaine Latine authors, which haue written of the same regions, are farre otherwise of opinion.

Likewise they are most strong and valiant people, especially those which dwell vpon the mountaines. They keepe their couenant most faithfully; insomuch that they had rather die than breake promise. No nation in the world is so subiect vnto iealousie; for they will rather leese their lives, then put vp any disgrace in the behalfe of their women. So desirous they are of riches and honour, that therein no other people can goe beyonde them. The truell in a manner ouer the whole world to exercise traffique. For they are continually to bee seene in AEgypt, in Aethiopia, in Arabia, Persia, India, and Turkie: and whithersoeuer the goe, they are most honorably esteemed of: for none of them will possesse any arte, vnlesse he hath attained vnto great exactness and perfection therein. They haue alwaies beene much delighted with all kinde of ciuilitie and modest behauiour: and it is accounted heinous among them for any man to vtter in companie, any bawdie or vnseemely worde. The haue alwaies in minde this sentence of a draue author; Giue place to thy superior. If any youth in presence of his father, his vncle, or any other of his kinred, doth sing or talke ought of loue matters, he is deemed to bee woorthie of grieuous punishment. Whasoeuer lad or youth there lighteth by chaunce into any company which discourseth of loue, no sooner heareth nor vnderstandeth what their talke tendeth vnto, but immediately he withdraweth himselfe from among them. These are the things which we thought most woortie of relation as concerning the ciuilitie, humanitie, and vpright dealing of the Barbarians: let vs now proceede vnto the residue.

Those Arabians which dwell in tents, that is to say, which bring vp cattell, are of a more liverall and ciuill disposition: to wit, they are in their kinde as deuout, valiant, patient, courteous, hospitall, and as honest in life and conuersation as any other people. They be most fairthfull obseruers of their word and promise; insomuch that the people, which before we said to dwell in the mountaines, are greatly stirred vp with emulation of their vertues. Howbeit the said mountainers, both for learning, for vertue, and for religion, are thought much inferiour to the Numidians, albeit they haue little or no knowledge at all in naturall philosophie. They are valiant, and exceeding louers and practisers of all humanitie. Also, the Moores and Arabians inhabiting Libya are somewhat ciuill of behauiour, being plaine dealers, voide of dissimulation, fauourable to strangers, and louers of simplicitie. Those which we before named white, or tawney Moores, are stedfast in friendship: as likewise they indifferently and fauourable esteeme of other nations: and wholy indeuour themselues in this one thing, namely, that they may leade a most pleasant and iocund life. Moreouer they maintaine most learned professours of liberall artes, and such men are most deuout in their religion. Neither is there any people in all Africa that lead a more happie and honorable life. What vices the foresaid Africans are subiect vnto. Neuer was there any people or nation so perfectly endued with vertue, but that they had their contrarie faults and blemishes: now therefore let vs consider, whether the vices of the Africas do surpasse their vertues & good parts. Those which we named the inhabitants of the cities of Barbarie are somewhat needie and couetous, being also very proud and high-minded, and woonderfullly addicted vnto wrath; insomuch that (according to the prouerbe) they will deeply engraue in marble any iniurie be it neuer so small, & will in no wise blot it out of their remembrance. So rusticall they are & void of good manners, that scarcely can any stranger obtaine their familiaritie and friendship. Their wits are but meane, and they are so credulous, that they will beleeue matters impossible, which are told them. So ignorant are they of naturall philosophie, that they imagine all the effects and operations of nature to be extraordinarie and diuine. They obserue no certaine order of liuing nor of lawes. Abounding exceedingly with choler, they speake alwaies with an angrie and lowd voice. Neither shall you walke in the day-time in any of their streetes, but you shall see commonly two or three of them together by the eares. by nature they are a vile and base people, being no better accounted of by their gouernours then if they were dogs. They haue neither iudges nor lawyers, by whose wisdome and counsell they ought to be directed. They are vtterly in trades of merchandize, being destitute of bankers and money-chargers: wherefore a merchant can doe nothing among them in his absence, but is himselfe constrained to goe in person whithersoeuer his wares are carried. No people vnder heauen are more addicted vnto couetise the this nation: neither is there (I thinke) to bee found among them one of an hundred, who for courtesie, humanitie, or deuotions sake will vouchsafe any entertainment vpon a stranger. Mindfull they haue alwaies beene of iniuries, but most forgetfull of benefites.

Their mindes are perpetually possessed with vexation and strife, so that they will seldome or neuer shew themselues tractable to any man; the cause whereof is supposed to be; for that they are so greedily addicted vnto their filthie lucre, that they veuer could attaine vnto any kinde of ciuilitie of good behauiour. The shepherds of that region liue a miserable, toilsome, wretched and beggarly life: they are a rude people, and (as a man may say) borne and bred to theft, deceit, and brutish manners. Their yoong men may goe a wooing to diuers maides, till such time as they haue sped of a wife. Yea, the father of the maide most friendly welcommeth her suiter: so that I thinke scarce any noble or gentleman among them can chuse a virgine for his spouse: albeit, so soone as any woman is married, she is quite forsaken of all her suiters; who then seeke out other new paramours for their liking. Concerning their religion, the greater part of these people are neither Mahumetans, Iewes, nor Christians; and hardly shall you finde so much as a sparke of pietie in any of them. They haue no churches at all, nor any kinde of prayers, but being vtterly estranged from all godly deution, they leade a sauage and beastly life: and if any man chanceth to be of a better disposition (because they haue no law-giuers nor teachers among them) he is constrained to follow the example of other mens liues & maners. All the Numidians being most ignorant of naturall, domesticall, & commonwealth-matters, are principally addicted vnto treason, trecherie, murther, theft, and robberie. This nation, because it is most slauish, will right gladly accept of any seruice among the Barbarians, be it neuer so vile or contemptible. For some will take vpon them to be dung-farmers, others to be scullians, some others to bee ostlers, and such like seruile occupations. Likewise the inhabitants of Libya liue a brutish kinde of life; who neglecting all kindes of good artes and sciences, doe wholy apply their mindes vnto theft and violence. Neuer as yet had they any religion, any lawes, or any good forme of liuing; but alwaies had, and euer will haue a most miserable and distressed life. There cannot any trechery or villanie be ijuented so damnable, which for lucres sake they dare not attempt. They spend all their daies either in most lewd practises, or in hunting, or else in warfare: neither weare they any shooes nor garments. The Negroes likewise leade a beastly kinde of life, being vtterly destitute of the vse of reason, of desteritie of wit, and of all artes. yea they so behaue themselues, as if they had continually liued in a forrest among wilde beasts. They haue great swarmes of harlots among them; whereupon a man may easily coniecture their manner of liuing; except their conuersation perhaps be somewhat more tolerable, who dwell in the principall townes and cities: for it is like that they are somewhat more addicted to ciuilitie. Africanus, Leo. A Geographical History of Africa (Trans. John Pory. 1600).

Click here to see a copy of one of the early covers of the text.

Another minor source Shakespeare could have used is Pliny the Elder's Naturalis Historia (original Latin), translated in 1601 by Philemon Holland. Othello's descriptions of his conquests in Act 1, scene 3 may have come from Pliny's work.





OTHELLO
A preliminary assumption may be that, because Othello kills his beloved wife after the devious machinations of Iago, then perhaps Othello is as much a victim of Iago's evil as Desdemona is of Othello's wrath. Some may argue that the sin of Iago - to plot the downfall of the Moor - is worse because it blossoms in a diabolical, calculating mind, as opposed to the sin of Othello which is committed because he has become a mere pawn in Iago's hands, blinded by hurt, ruined by his own naivete. However, it can be shown that Othello allows himself to be manipulated. Iago's suggestion of the infidelity of Desdemona provides just the excuse Othello needs to justify the destruction of the wife he believes cannot truly love him. The argument can be made that Desdemona's murder is a result of Othello's pride and rush to judgment and, as a result, he must be held accountable.

Othello, unlike the base Iago, is capable of forming strong, loving relationships -- his genuine friendship with Iago confirms this fact. Othello allows himself to be influenced by Iago, and allows Iago to bring out his most evil characteristics. Although Iago may be the more innately evil of the two, Othello does little to prevent his base instincts from becoming dominant. To see why Othello commits his crime and why he has to be held accountable for it, we must examine his motive. It can be claimed that what actually causes Othello to commit murder is not his being mentally weakened and manipulated by Iago, but rather his own pride and lack of confidence which he allows to gain control. Othello is a strong leader, self-assured in his ability to handle military matters, but he is insecure with his personal qualities. He is in a new city with different customs. He has a new bride - a young and beautiful girl - whom he loves but does not know well. He is unsure why Desdemona would choose him for her husband, and can only fathom one explanation, "She lov'd me for the dangers I had pass'd." (I,iii,167) The Moor surely is aware of the widespread prejudice in Venice and certainly must question why Desdemona would defy her culture and fellow white Venetians by marrying a black man. Othello has his doubts about Desdemona before Iago begins his scheming. Even though his wife shows nothing but love for him, Othello cannot believe in her love wholeheartedly. His answer to his doubts is, initially, to put Desdemona on a pedestal, making her an "emblem of purity and trustworthiness" (Kenneth Muir, Aspects of Othello, 17).

'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.(III,Iii,180)
Othello is going to conclude that Desdemona's compassion and virtue alone enable her to love the unlovable -- a precarious conclusion emanating from his low self-esteem. When Iago does shatter the Moor's idealistic image of Desdemona, he is simply reinforcing what Othello believes deep down to be totally possible: that Desdemona could love another man. Iago is on hand to confirm Othello's underlying suspicions:
Ay, there's the point! as (to be bold with you)
Not to affect many proposed matches
Of her own clime, complexion, and degree,
Whereto we see in all things nature tends ...
Her will, recoiling to her better judgement,
May fall to match you with her country forms,
And happily repent. (III,iii,228)
With Iago's validation of his suspicions, the Moor's barbaric nature can surface. His warrior instincts can take over, which is exactly what Othello wanted all along. He is comfortable only in the role of the aggressor. Why does Othello not make a better effort to combat Iago's accusations? It is true that he asks for some material proof of his wife's treachery, but he does not at all question the evidence when it is laid before him. As far as Othello is concerned a trusted friend and soldier has confirmed what he himself suspected all along and that is proof enough - reason enough to condemn her to death. The most damaging evidence that Othello is fully reasonable, and rendering this twisted justice out of pride and bitterness, comes In Act IV. Othello has had an epileptic seizure and is clearly shaken, yet it is obvious that he is still in full possession of his mental faculties. His low self-esteem led him to believe in Desdemona's betrayal, but his fierce warrior conceit will force him to make sure she pays dearly for her transgression. Like Iago, plotting his course of destructive action, Othello too plots the death of Desdemona with calculating reason:
(IV,i,178)
Ay, let her rot, and perish, and be calm to-night; for
she shall not live. No, my heart is turn'd to stone ...
Othello is now concerned only with rendering justice:
Iago: Do It with poison. Strangle her in bed, even the
bed she hath contaminated.(IV,1,202)
Othello: Good, good! The justice of it pleases. Very
good!(IV,1,204)
Othello claims that he is not seeking revenge. However, by refusing Desdemona the chance to defend herself, it is not clear how his form of justice differs from pure vengeance. The Moor is going to make sure the adulteress pays for her crime and her deception. After all, she made him look like a fool: "Yet she must die, else she'll betray more men". (V,11,6) Othello is going to save others from falling into her diabolical trap; he is acting as judge and executioner without permitting Desdemona an attempt to prove her innocence. One must ask if these are the actions of a mentally weak man, a mere puppet in the hands of lago? Othello cannot trust his wife on earth because he is incapable of understanding why she loves him and, therefore, cannot believe her love is genuine. After she is dead, he will be free to love his idealistic image of Desdemona without worry:
Be thus when thou art dead, and I will Rill thee,
And love thee after ... (V,11,17)
Now as we see in the final scene of Act V, Iago has no trouble admitting what he is:
Othello: If that thou be'st a devil, I cannot kill thee.
Iago: I bleed, sir, but not killed.(V,11,286)
Although Iago's actions throughout the play are thoroughly deceitful, there is an honesty that comes with his admission. Iago knows he is a demon - and he acted according to his nature. But Othello kills Desdemona under the guise of righteous indignation and will not admit his true motive. When Othello finds out Desdemona is truly the pure and innocent emblem he created in his mind, he is obligated to commit suicide. The Moor must again render justice, this time upon himself. Othello's remorse and subsequent suicide is the only reason why we should not place him on the same villainous level as Iago. But, at the same time, his feelings of guilt after-the-fact cannot be allowed to exonerate him. Othello has an obligation to allow Desdemona to contend the charge of adultery. He chooses to disregard that obligation in favour of satisfying his own fixations. It would be easier for us to defend Othello and cast all the blame on Iago. Iago is an aberration, but Othello is 'Everyman', fighting an internal battle between good and evil. It would feel better to see Othello as a mental weakling, driven insane by his pain and confusion. We could then say with certainty that he did not choose evil over good. But we cannot exonerate him. Othello's sin against Desdemona is as heinous as Iago's sin against Othello. Othello proves it with his own words:
Desdemona: Kill me to-morrow; let me live to-night!
Othello: Nay, an you strive-
Desdeemona: But half an hour!
Othello: Being done, there is no pause.
Desdemona: But while I say one prayer!
Othello: It is too late.(V,11,80)
*Please note that this is only one interpretation of the character of Othello. Many believe Othello to be wholly innocent and heroic in the face of Iago's evil. For a more forgiving view of the Moor, please see Bradley's essay below.



IAGO
On the surface, Iago's motive for wanting to destroy Othello could be one of several. The most obvious is that he has just been passed over for a promotion which has gone to Cassio. He confesses to Roderigo that this is the reason for his hatred; the reason for his desire to ruin Othello:
One Michael Cassio, a Florentine
(A fellow almost clamn'd In a fair wife),
That never set a squadron in the field/
But he, sir, had the election ... (l,i,20)
Another motive, and possibly a stronger motive than the first, Is Iago's jealousy of the Moor. Iago suspects that his wife, Emilia, has committed adultery with Othello:
... I hate the Moor;
And it is thought abroad that Itwixt my sheets
'Has done my office. I know not if it be true;
Yet I, for mere suspicion in that kind,
Will do as if for surety. (I,111,279)
Iago is also jealous of Othello's ability to woo the young, alluring Desdemona. It is possible that Iago has his own secret passion for the Moor's new bride, and he is enraged at the idea of the "old black ram" (I,1,88) attaining what Iago himself desires:
It cannot be that Desdemona should long
continue her love to the Moor ... She must change for youth.
When she is sated with his body, she will find the error of her choice
... If sanctimony and a frail vow
betwixt an erring barbarian and a supersubtle Venetian
be not too hard for my wits and all the tribe of hell,
thou shalt enjoy her.(I,iii,340)
Although the aforementioned reasons give Iago adequate motive to want to destroy Othello, on a more profound level we see that lago's true motive is his blatant love of evil. Iago is using jealousy and anger as excuses to perpetrate evil. Even if Iago had received the promotion; even if he had no suspicions or jealous feelings, he would invent other motives to provide the framework for the diabolical mischief he must create. To Iago, the ruination of Othello is a game:
Let us/ be conjunctive against him. If thou canst
cuckold him, thou dost thyself a pleasure, me a
sport. (I,iii,363)
Iago's delight in evil certainly makes him comparable to Satan. Honour, loyalty, reverence, and fidelity - the highest and the holiest virtues of humanity - are but base commodities to be bought and sold. Iago is "an unbeliever in, and denier of, all things spiritual, who only acknowledges God, like Satan, to defy him" (William Robertson Turnbull, Othello: A Critical Study, 269). Iago has no conscience, no ability to perform good deeds. Iago is a psychopath, and is not capable of forming affectionate relationships or feeling guilt and concern over his behaviour. Unlike Othello, Iago does not have the free will to refrain from wickedness. His nature does not enable him to see the goodness in any one or anything; he is driven by a lust for evil beyond his control.

How to cite this article:

Mabillard, Amanda. "Othello Analysis." Shakespeare Online. 19 Mar. 2000. (date when you accessed the information") < http://www.shakespeare-online.com/othello.html >.



WORKS CITED
Adamson, Jane. Othello as Tragedy. Cambridge: Cambridge UP, 1980.
Bloom, Harold. William Shakespeare's Othello. New York: Chelsea House, 1987.
Brooke, Tucker. Appendix B. In Othello. New Haven: Yale UP, 1947.
Kitteridge, Lyman. The Tragedy of Othello. Toronto: Blaisdell Publishing, 1966.
Rolfe, William J. A Life of William Shakespeare. Boston: Dana Estes & Company, 1948.
Turnbull, William. Othello: A Critical Study. Edinburgh: William Blackwood and Sons, 1892.
Zimbardo, Philip. Psychology and Life. New York: Harper Collins, 1992.

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