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Othello
Act 1 Scene 1
‘Horribly stuff’d with epithets of war’​ - Iago
- Always talking about his war stories
...

‘I follow him to serve my turn upon him’​ - Iago
- Establishes Iago as a villain explicitly at the start of the play, thereby building tension as Iago is represented to be one who takes delight in his villainy and
is skilful with manipulation
...

‘Even now, now, very now, an old black ram is tupping your white ewe’​ - Iago
- Represents Othello’s sexuality as animal-like
...
By likening Othello to a black ram, it diminishes him to a beast, to a position below humanity, and that by describing Desdemona as ​‘white ewe’, ​a
contrast in colour is established, representing her as corrupted by a bestial figure
...

- Shakespeare’s use of antithesis: ‘black ram’ against ‘white ewe’ expressing conflict, which is at the heart of all drama
‘Thieves! Thieves! Look to your house, your daughter, and your bags!’
- The repeated use of possessive pronouns ​‘your’​ accentuates how these are all belongings of men
...
This reflects how the daughter is perceived as property, such as bags and houses
...
​ T
​ his demonstrates how women are not considered people with their own choices, but
rather, they have to be given permission by men to do things
...
Blatant and intentional racist abuse in Iago and Roderigo’s dialogue

Balcony scene as a whole
- Visible representation of a conceptual metaphor
- Power dynamics: Iago acting as a puppet master in the shadows, whilst Roderigo was in the light and exposed, hence he was piggybacking off Roderigo’s
higher social status in Venetian society as a noble gentleman
...

Act 1 Scene 2
‘My services which I have done the signiory shall out-tongue his complaints’​ - Othello
- Shakespeare represents Othello as one who is initially confident about his value to the Venetian state because he acknowledges the context of an ongoing
war against the Turks
...

‘Good signior, you shall more command with years than with your weapons’ -​ Othello
- Demonstrates a sense of pride in his military prowess
...

“I love the gentle Desdemona, I would not my unhoused free condition put into circumscription and confine for the sea’s worth
...

Brabantio’s beliefs represent the ones of society at large during that era, informed by the prominent ideology of the Great Chain of Being
...
Adding an adjective before a name of noun demonstrates that this is the characteristic
that defines the person, and in this case, Othello is seen as the brave soldier Venice needed to defeat the Turks
...

‘For nature so preposterously to err… Sans witchcraft could not’​ - Brabantio
- Shakespeare represents Venetian society as highly stratified and imposes hierarchical views on individuals: Brabantio’s belief that the marriage disrupts
the Great Chain of Being and is against the very foundation of nature demonstrates how interactions between the hierarchies of individuals are seen as
intolerable and atrocious
...
Shakespeare traditionally gave verses to
his high-status characters
...


‘Most potent, grave, and reverend signiors, my very noble and approv’d good masters’​ - Othello
- Hyper polite discourse: Othello is aware of the social conventions of the polite Venetian society and adheres to it
...
This reflects how his speech indeed catered for his audience and for public consumption, thereby representing Othello as one who is self-conscious
and confident
...
He is actually a sophisticated speaker - his speech is
refined, his choice of diction is sophisticated, yet he says this to gain trust and make people believe that he is a simple soldier
...
He almost self-consciously buys into the
stereotypical expectations of his own race, reinforcing the stereotype by talking about war, power and venture, portraying himself in an orientalist light to
charm Venetian audience and establish his own unique position in society
...

Othello’s 2nd Speech
‘Her father lov’d me, oft invited me, still question’d me the story of my life’​ - Othello
- Here, Shakespeare portrays deep-rooted racism through Othello’s narrative
...
This reflects how although certain Venetian nobility display upfront prejudice and discrimination, beliefs of the Great Chain of Being was deeply
entrenched into their minds, possessing a philosophical objection against such interracial relationships
...
Reflects how his speech was a structured and eloquent response to Brabantio’s accusations
...
Using his tales of adventures to charm the contemporary audience, who are all traders
who never heard of such exotic tales before
...
The lengthiness of both his speeches paint Othello as one who is
in control, confident and charismatic, using his stories and race to his advantage to gain public power
...
’
- Such stories were also what made Desdemona fell in love with him
...
I am hitherto your daughter
...
She claims to have ​‘a divided duty,’​ but concludes that her allegiance has changed and
belongs to Othello now that she is married
...
Hence, women can be seen as victimized here, as they are not considered people in their own right but exist in
relation to men, initially belonging to their fathers and then after marriage, by their husbands
...
Indeed, women at the time must be controlled by a man due to
the patriarchy, but despite so, Desdemona ​chooses​ which man she wants to be controlled by
...

‘If virtue no delighted beauty lack, your son-in-law is far more fair than black’​ - Duke
‘Look to her, Moor, if thou hast eyes to see: she has deceiv’d her father and may thee’​ - Brabantio
- Plants seed of doubt in Othello’s mind
...
This establishes a sense of dramatic irony, as the audience know of Iago’s malevolent
intents, thereby creating tension in Iago’s deceitful public perception
...
’
- Iago’s worldview: Pelagianism
Iago’s Manipulation of Roderigo
- Discourse analysis: Roderigo now speaks less → reflects the power dynamics, represents his diminishing status in the relationship
- Iago tells partial truths ​‘I have professed me thy friend’
- ‘Put money in thy purse’​ Repetition of this phrase for 8 times
- ‘Go to; Farewell
...
’ ​Iago tests his manipulation skills on Roderigo and decides to move
onto the Moor, pinpointing his weakness of being trusting of others
...
Allow the audience to truly see Iago’s craft, explaining his choices like a stage director would
...
Othello is vulnerable to Iago’s manipulation as there is no longer anyone of a higher power to appeal to unlike in
hierarchical Venetian society
...
Iago notices the disappearance of the rigid power hierarchy in
Cyprus, and utilizes the advantageous location of Cyprus to execute his plan of detuning and isolating Othello
...
Othello can no longer appeal to the dukes and senators, who would
give him a chance to justify his actions or speak out about his complaints in civilized ways, and could take criticism from instead have to rely on his own
decision making
...

‘The riches of the ship is come on shore’​ - Cassio
- Compares Desdemona to riches and treasures
...
Misogyny
...
’ ‘You rise to play and go to bed to work’ -​ Iago
‘He takes her by the palm… whisper… With as little a web as this I will ensnare as great a fly as Cassio’ ​- Iago
- Iago’s language is full of imagery of flies and traps and webs
- Cassio as a florentine is accustomed to an open, loving culture that shapes his interactions with women
...

‘I do suspect the lusty Moor hath leaped into my seat… For I fear Cassio with my night cap too’
- Displays how Iago suffers from the same issue of jealousy, in turn he wants to insinuate this in Othello
...
His words reflects
great disrespect to the woman, there is no trust in this relationship
...

Act 2 Scene 2
‘She’s a most exquisite lady’​ - Cassio, ​‘And I’ll warrant her full of game’​ - Iago

-

Contrast in language
...


Act 2 Scene 3
‘Away, I say, go out and cry a mutiny’ ​- Iago
After Cassio stirs a conflict with Roderigo and Montano staged by Iago, Iago asks Roderigo to ring the bell of Cyprus, creating a surge of confusion and chaos
...
This is because Iago has a strong sense of self-awareness and ability to improvise - discord acts as a shield for
him because it matches with his chaotic personality
...
He is able to assert his ascendency in this environment
whilst others are exposed by the loss of hierarchy
...
Iago takes this step even further: He creates his own path to power by
generating situations in his favour, creating turmoil and commotion
...

‘I had rather have this tongue cut from my mouth than it should do offence to Michael Cassio’ -​ Iago
- Appears to be loyal to Cassio but frames him
...
The intensity of
speech in cutting out one’s tongue creates a sincere and trustworthy image, pretending to protect Cassio in front of authorities with the phrase​ ‘shall
nothing wrong [Cassio]
...
This fulfils Iago’s purpose of manipulating his identity, as Othello and others now put faith in this ‘honest Iago’ image
...
However,
with Iago’s manipulation of the context of this scene, he frames it as an event worthy of suspicion to Othello, framing it to him without basing it on factual
information or context but encouraging him to speculate through his vague use of language
...
’​ - Emilia
- Initially assumes the best of her husband
Continuous reference to Iago as honest
- Othello has referred to Iago as honest for 12 times throughout the play, demonstrating the success his image receives, which Iago utilizes to the maximum
...
Cassio, Desdemona and Othello all end up
follow Iago’s advice, putting faith in his words as they believe wholeheartedly in his image as an honest, loyal friend
...


-

Creates dramatic irony as the audience knows of his malevolent intent of detuning and creating chaos, thereby establishing and maintaining tension
between the illusion of his honesty and the reality that he is insidious, manipulative and deceitful
...
Through his particular use of language, he changes the power dynamics of the conversation, steering the
dialogue to his advantage, whilst also creating metamessages and framing certain situations in the way he wants
...

‘Iago: Ha! I like not that
...
’
Othello: Was that not Cassio parted from my wife
Iago: Cassio, my lord? No, sure, I cannot think it that he would steal away so guilty-like seeing you coming’
-

Iago sees the opportunity that Cassio is with Desdemona, and knowing Othello’s insecurities that his beautiful wife would not love a man of his race and
age, he frames Cassio’s image as negative and suspicious, using diction such as ‘steal away’ and ‘so guilty-like’, thereby planting a bad narrative in
Othello’s mind and encouraging his various suspicions and imagination
...
Iago takes the initiative here, beginning the conversation and dominating it to implant the seed of doubt in
Othello’s mind
...
The shift in power dynamics is
apparent: the suddenness of his comment and lack of explanation grabs hold of Othello’s attention and he falls into Iago’s trap
...
Iago is now in control of information Othello lacks, giving him
control over Othello
...
The word ‘want’ creates an illusion that
there is something between the two
...
Here, Iago frames a normally harmless act (a friend seeking
another friend for help) in a way favorable to his narrative
...


-

Ultimately, the withholding of information in conversation encourages Othello to use imagination to fill the gap
...
Othello is predisposed to think the worse, becomes increasingly delusional
...
This illustrates a shift from the traditional silence of women in the public
sphere
...
I wonder in my soul, what you would ask me, that I should deny, or stand so mammering on’ -​ Desdemona
When Othello wouldn’t give her a definite answer about when Cassio’s position can be restored, Desdemona says,​ ‘Tell me, Othello
...
’ ​She immediately points out Othello’s hesitant and mammering behaviour, his
avoidance of making promises, and expresses her dissatisfaction
...
This demonstrates how she is unafraid to stand
up for her cause, proving that she is not meek and passive, but has steel in her
...
Or sue to you to do a peculiar profit to your own
person
...
Or sue to you to do a peculiar profit to your own person’ ​Despite getting what she asked for,
Desdemona tells Othello off for him treating this as a favor for her, claiming that she is the one who’s doing her husband a favor
...


-

-

Whate’er you be, I am obedient’
However, at the same time, Desdemona remains generally obedient with regards to Othello’s commands
...
She says ​‘Whate’er you
be, I am obedient’ ​as she leaves,​ ​asserting she will always be an obedient wife no matter how Othello acts
...


Iago’s use of equivocation
‘Did Michael Cassio, when you woo’ed my lady, know of your love?’
- Iago often uses language that is ambiguous and with equivocation, implying his suspicion yet never directly voicing it out, allowing Othello to make his
own conclusion
...
This important because when an individual has to generate their own conclusions about
situations, especially regarding one’s fears, it is often that the individual will magnify the fear and imagine the worse version of what could happen
...

‘O: Is he not honest?

I: Honest, my lord?
O: What dost thou think?
I: Think, my lord?’
- When Othello initiates by asking if Cassio is not honest, it is clear to readers that the seed of doubt has been successfully planted in Othello’s mind
...
Iago
has successfully weaponized Othello’s insecurities, exploiting his weaknesses and corrupting him, making him someone guided not by facts and reasoning
but guided by his own insecurities
...

‘​Ha!’ ‘O misery!’ -​ Othello
- Shift in Othello’s discourse: Othello was in control initially, speaking for a lengthier amount of time and is eloquent, yet now his discourse is diminished to
single words and utterances, which reflect a sense of loss of control, demonstrating that Othello truly has been affected by Iago’s lies and infected by the
disease that is jealousy
‘​I know our country disposition well
...
Their best conscience is not to leave ’t undone,
but keep’t unknown
...
‘​I know our country disposition well
...
Their best conscience is not to
leave ’t undone, but keep’t unknown
...
Iago takes advantage of his fragile and vulnerable state, making sure that Othello’s emotions
and feelings of inferiority get the better of his logic and reasoning
...
Contrasts with the confidence he had in his own
status and military prowess, confidence that Desdemona has chosen him in Act 1
...
’ -​ Othello
- Starts inspecting himself and the first thing he thinks of is his skin colour
...
She steals her mistress’s handkerchief, claiming that
’what he will do with it, heavens knows, not I: I nothing but to please his fantasy​’ This indicates that she simply follows her husband’s instruction without
her independent thoughts or questioning about her husband’s intentions and the potential consequences
...

- Handkerchief: flimsy, fragile evidence, thinking that there was no way it would lead to such dire consequences as getting her mistress killed
...
​ ‘How now! What do you here alone?’​ Iago demands full control and knowledge of what she is doing, seen as the way he
interrogates her
...
Emilia must reveal everything, but Iago can do anything under secret
...

- Othello as the agent of his own destruction - the fact that he says he rather not know about infidelity rather than claiming that there was no act of infidelity
indicates that he does not think Desdemona is innocent at any point
...
His self image was predicated on his military prowess
...
Iago successfully deconstructs Othello
...
’ ​- Othello
- Tension within Othello: His dichotomy, on the one hand he is jealous, on the other hand sceptical
...

- He seeks confirmation - feels that it is logical that she betrays him for another man due to his insecurities
‘Her name is now begrimed and black as my own face
...
Reflects how he actually has low self
worth, once he is betrayed, he doubts himself and feels inferior
...
Othello in turn absorbs this narrative
because of his feelings of inferiority
...
Under the impression that he does not meet Desdemona’s sexual needs, Othello absorbs this narrative, as it appeals to Othello’s insecurity
...
Once Othello
accepts this lie, he is weakened: ‘O monstrous, monstrous!’ Here, we see that Othello is turning into the worst version of himself, his language demonstrates a
sense of loss of control - he is turning into the stereotypical savage black man he had tried to make himself out not to be
...
this was but his dream’ ‘I know not what’ ​- Iago

-

Puts a disclaimer, but he knows the effect and damage has already been done to Othello, the image of infidelity has already planted in his head

‘I’ll tear her all to pieces!’ ​- Othello
- Shifting towards absolute certainty, trend towards mistrust
...
Its flexibility in meaning and references represent how it is actually a flimsy piece of evidence that can be easily manipulated, and Iago
takes upon this opportunity to fabricate this illicit affair
...
What should be important for their relationship and symbolic of their love was used
nonchalantly by another man
...
First time the audience sees the side of him that is hyper violent and
aggressive
...
Because his character has lost control over his reality, he loses
control over his language; this represents the undermining of the confident, eloquent, reasonable character Othello created and established in Venetian
society
...

- His syntax begins to fall apart - his state of mind reflected in his language
...

- Othello enters the scene A3S3 as one man and leaves as another, and we see that his transition is a progression and not binary
...
She lies because Iago told her
to and does not question or feel suspicious as to why he demanded such an immoral act from her
...

- Her language also mirrors Iago’s discourse
...
O hardness to dissemble’​ Juxtaposition of polite, respectful language to his wife and crude language, ranting about her infidelity
...
Before he used his duality to increase his worth in society but now he has been turned against himself
...
This builds tension and drama as audience knows of the danger she is in, yet Desdemona is
portrayed to be oblivious of his husband’s change
...
Othello uses aggressive combative register
...
Imagery is hostile
...
Othello claimed to have not used magic to win Desdemona and
was pragmatic, yet Othello now believes in magical handkerchiefs and potions
...

Desdemona’s Transition
​‘Nay, we must think men are not gods, Nor of them look for such observances As fit the bridal…
...
​’ ​- Desdemona
- After Othello scolds her angrily for losing the handkerchief and leaves, instead of being enraged and standing up for herself, Desdemona accepts it and
justifies his behavior, explaining how men should not be expected to be perfect or as polite as they are on their wedding days
...
She refers to herself as an ​‘unhandsome warrior,’​ someone who
can't carry out his duties, showing how she feels that she herself has failed in her duty to stand by her man
...
’​ - Desdemona
- Desdemona loses her initial confidence, saying ​‘Men's natures wrangle with inferior things, Though great ones are their object
...
This scene contrasts with the way they used to
speak in a dynamic that indicates equality, now, not only does Desdemona not stand up for herself in the relationship but also claims an inferior, passive
position
...
And no conception nor no jealous toy concerning you’ ‘Tis a monster begot upon itself, born on itself’​- Emilia
- Jealousy as a character flaw - casts light on the main theme jealousy
‘Huswife’ ‘strumpet’ ‘fitchew’ ‘caitiff​’ ‘​bauble’
- Cassio and Bianca can have sex regularly with no marriage, but Bianca is the one described as a ​‘huswife’ ‘strumpet’ ‘fitchew ‘catiiff’​ all of which
derogatory words that call her a whore
...
Even Cassio, her lover, calls her a
‘bauble,’​ someone worthless, something that can be discarded
...
This reveals the ugly truth behind Cassio’s gallantry in front of women
...

- Socially economically disadvantaged
...
She seeks love from cassio, but is treated like
a plaything
...
Is ’t come to this? Well, well​’​
...
She does not see herself as a prostitute in
the relationship, instead, she sees herself as someone deserving of equal treatment and respect
...
Is ’t come to this? Well, well
...
Her jealousy is apparent, and her tone in ​‘Is’t come to this?
Well, well’​ is aggressive and accusatory, clearly demonstrating her discontent and suspicion towards Cassio’s behavior
...

Act 4 Scene 1
‘Tis a venial slip’ ‘kiss in private’ ‘not meaning any harm’ ​- Iago
- Iago speculating, giving examples that are quite innocent yet inflames Othello even more
...
Symbol for sexual infidelity
‘A horned man’s a monster and a beast’​ - Othello
- Refers to himself as a beast, her betrayal directly challenges his manhood
...
This is some minx’s token, and I must take out the work? There, give it your hobby-horse
...
’ ​- Bianca
- She later lashes out at Cassio under the impression that he has ‘cheated’ on her
...
This is some minx’s token, and I
must take out the work? There, give it your hobby-horse
...
’ ​She does not obey Cassio’s request to work
but instead, scolds him and curses at him, showing how when she thinks she’s being treated unfairly, she will fight for herself
...

‘If you’ll come to supper tonight, you may
...
’ ​Her overall tone and choice of diction, such as ‘you may,’ underscores a sense of
authority over Cassio, as if instructing him what to do, subverting what one may expect of a women of low social status
...
Hyper violent diction and crude language
‘Yet the pity of it, Iago! O Iago, the pity of it, Iago!’ -​ Othello

-

Repetition creates pathos = quality in literature that evokes an emotional response

Lodovico’s arrival
- Lodovico is from Venice and brings the power of the duke with them
...

- ‘And what’s the news, good cousin Lodovico’​ - Desdemona
...

Othello’s duality
- Needs to appear like a proper general to Lodovico, yet is now driven with jealousy rage and violence
...

- Othello strikes her
...
This violent image represents the abusive of power, where violence is enacted in an injust manner due to jealousy, whilst
also foreshadowing greater violence that is to come
...
He is torn apart and deconstructed by the alleged infidelity
...

- He used to be an eloquent speaker from a land of savages, creating this complex, fascinating character and the two aspects of him were shown to be in
balance in the beginning, yet now the two aspects are directly in conflict
...
Her reaction is to love him and not fear him, demonstrating how she is still loyal to him
...
Desdemona could not even utter the word whore, seeing it as corrupt and unspeakable, yet Emilia directly
speaks it for her with passion, demonstrating her anger and willingness to defend her mistress
...
The Moor’s abused by some most villainous knave
...
In her discussion with Desdemona and Iago about Othello, she states
‘Why should he call her “whore”? Who keeps her company?
...
’ ​Her series of questions demonstrates
how she becomes suspicious of what’s happening around her and starts to question the status quo and the way the Moor is treating his wife
...

- Emilia’s closeness to the truth makes Iago uncomfortable
...
However, she continues, disobeying his command, and says, ‘​Oh, fie upon them! Some such squire he was that turned your wit the seamy side
without And made you to suspect me with the Moor
...
Yet she ceases to speak with Iago’s second command, telling her ​‘You are a fool
...
​ ’ Iago’s first
command ‘speak within door’ is more tame, which Emilia actively ignores
...
This demonstrates character progression, as she transitions from being blindly obedient to being
partially obedient
...
Both love each other but are represented to be helpless to change anything

‘It was his bidding…
...
In Act 4 Scene 3, she tells Emilia to prepare her to go
to bed, claiming that ​‘It was his bidding…
...

‘If I do die before thee, prithee shroud me in one of those same sheets’ ​- Desdemona
- Foresees her own death but both women do not defy Othello and are represented to be helpless to change anything
Emilia’s views
- Expresses the vulnerability of women in patriarchy ​'They are all but stomachs, when they full the belch us
...

- Voices unfair rules imposed on women, challenges the status quo and men and women are no different
...
’
- Critique of men: Husbands are to blame for their wives’ faults because of the power have over them
...
’​ Emilia’s insight based on own experience, alludes to Iago’s unfounded
jealousy when warning Desdemona
Act 5 Scene 1
‘O damned Iago! O inhuman dog!’ ​- Roderigo

-

Roderigo first to discover who Iago really is
...
He is no
longer in control
...
When Cassio is wounded, she cries ​‘O, my dear Cassio,
my sweet Cassio!’,​ demonstrating her genuine concern, despite having been treated badly by him, remaining loyal despite her abuse
...
​‘Fie, fie upon thee,
strumpet’ ‘as I foh fie upon thee’ E
​ ven, Emilia, who is supposed to be the symbol of solidarity of women by the end of the play resorts to calling her a
strumpet
...
There is no sign to suggest that she is treated like a woman and not an object
...
His act of self-justification, setting himself up as the personification of justice
- ‘Perjury’ -​ use of legal language in the bedroom episode, almost as if it were some kind of courtroom in session with Othello taking onto the role of both
the judge and the executioner
...
The use of imagery demonstrates how he
regains the poetic sense of himself
...
Speech is instead rich in visually striking images, perhaps suggesting that he is idealising his role and
euphemizing what he is about to do
...
’ ‘Be thus when thou art dead and I will kill thee and
love thee after
...
In Act 5 scene 2, he decides to choke and not use another method to kill her
...
’ ‘Be thus when thou art dead and I will kill thee and love thee after
...
To him, her most important characteristic is her beauty, and her personality and character are
swept aside
...

‘I must weep’ ‘I that am cruel am yet merciful; I would mot have thee linger in thy pain’
- Wallowing in self-pity
...
To this end he still feels like the one who is wronged yet merciful and the one to be pitied
...
’ ‘Send for the man and ask him’ ​- Desdemona
- Replies that her only sin is in loving him
...
Here, Othello does not allow for Cassio’s corroboration, and merely accuses Desdemona of perjury
...

‘​It is the very error of the moon
...
Iago manipulate and was the stage director, but it was Othello who was wallowing in self pity
...

‘My husband?’ ‘He lies to th’heart
...
’ ‘Do thy worst’
- ‘My husband!’ Expresses her utter disbelief, as her perspective of her husband immediately changes
...
Upon discovering murder, she defies power imbalance, speaking out in spite of Othello’s threat to keep peace
...
He is also cornered, he is unable to speak to people
one to one and target their weaknesses, concerns or nitpick evidence to form his own narrative
...

Emilia’s role as a truth teller
- In Act 5, when Emilia realises what her husband has done, she becomes completely independent and exposes him
...
The diction ​‘charge’​ indicates that it is a direct command in the same vein ‘go to
...

- Instead, she turns to the Venetian authority ​‘Good gentlemen, let me have leave to speak
...
Perchance, Iago, I will ne'er
go home’ T
​ he way she says ​‘tis proper I obey him but not know’​ demonstrating self-awareness of her position
...

- However, her empowerment is shown as although she has no power herself as a woman of a low social status, she takes advantage and relies on the power
of the Venetian authority to speak up and expose her husband
...
Just like Desdemona, she demonstrates wits in the manner she speaks
...
Although it is unable to reverse the tragedy, it demonstrates a progression in Emilia’s character from
being blindly obedient to destroying her husband
- Emilia speaks in her own right ​‘My mistress here lies murdered in her bed’​ dismiss Iago and highlights the severity of the situation, bringing attention to
her own cause
...
So when Emilia
speaks out bravely, she exposes him completely and leaves a defenseless, naked Iago
...


-

Overall, Emilia is represented not as a one dimensional, submissive character
...
Her role as a truth
teller at the end of the play is prominent
...

- Emilia not completely innocent, because helped perpetuate Iago’s crimes
...
​‘So come my soul to bliss, as
I speak true’​ She dies singing Desdemona’s willow song, reaffirming her purity and love for Othello ​‘Moor, she was chaste, she loved thee, cruel moor’
- The image of two women lie side by side dead represents how two women were bound by the love they have for each other but powerless and unable to
change their fate, a reflection of the patriarchy’s injust
...

Conversely, as a woman with divided duty, as a woman always viewed as someone’s inferior, be it Desdemona’s or Iago’s, in order to survive in a highly
hierarchical and patriarchal society, did Emilia ever have a choice but to obey?
- Emilia’s character has most development: (1) Absolute obedience by obligation, (2) Realistic insight into womanhood, (3) Refusal to remain silenced
- Under Shakespeare’s craft, Emilia is a rich and complex character, facing dilemmas between her two identities as a wife and an attendant
...
Emilia’s death show that within the world of the play and in patriarchy, no promise for women to be
in control of their fate
...
He refers to himself in third
person and past tense, emphasizing how the persona he had constructed for himself is now gone
...
Yet at the same time he understands the severity of his crimes, hence he merely wishes that the unexaggerated, un-toned down truth be told about
him
...
Contentious remarks open to challenge
‘I took by th’throat the circumcised dog and smote him thus’​ -Othello
- He stabs himself and solves the paradox, resolving the duality of Othello, restoring order
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- The relation between violence and the ideological power of the state may be glimpsed in the way Othello justifies himself, in his last speech, as a good
Venetian: he boosts of killing the ​‘malignant and turban’d Turk [who] traduced the state’​ Upon this recollection, Othello’s act of stabbing himself
demonstrates that he recognizes himself as an outsider for the last time, a discredit to the social order he has been persuaded to respect and stabs himself to
resolve this paradox and restore order

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