cassio character analysis essay

'Othello': Cassio and Roderigo

Character Quotes and Analysis

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"Othello" is one of William Shakespeare's most acclaimed tragedies. The story of a Moorish general (Othello) and the soldier (Iago) who plots to usurp him, the play features a small cast of characters who are manipulated and pitted against each other as part of Iago's deceitful plan. Two of the key characters are Cassio, Othello's loyal captain, and Roderigo, a man who is love with Othello's wife, Desdemona. Over the course of the play, both are lured into the complex love plot engineered by Iago, one of Shakespeare's  best-written villains.

Cassio is described as Othello's "honourable lieutenant," and he is given this rank over Iago. The appointment, undeserved in Iago’s eyes, justifies the villain’s cruel revenge against him:

"One Michael Cassio, a Florentine… / That never set a squadron in the field / Nor the division of a battle knows." (Iago, Act I Scene 1)

We know that Cassio is of good standing due to Desdemona ’s passionate defense of him. However, Othello is easily turned against him by Iago.

In Act II, Cassio foolishly allows himself to be encouraged to go for a drink when he has already acknowledged it to be the wrong thing to do. “Come lieutenant. I have a stoup of wine," Iago says (Act II Scene 3). "I’ll do’t but it dislikes me," Cassio replies. Once the captain becomes drunk, he is drawn into a brawl and attacks Montano, a former Cypriot official, badly wounding him. The attack is an embarrassment to Othello, who is forced to act quickly to appease the Cypriot officials. The Moorish general sacks Cassio on the spot:

"Cassio I love thee, but never more be officer of mine." (Othello, Act II Scene 3)

Othello is justified in this, as one of his men has injured an ally; nevertheless, the scene demonstrates Othello’s impulsivity and his righteousness.

In his desperation, Cassio falls into Iago’s trap once more as he implores Desdemona to help him win his job back. His office is the most important thing to him, so much so that he neglects his relationship with Bianca while he is trying to get it back.

At the end of the play, Cassio is injured but redeemed. His name is cleared by Emilia and as Othello is stripped of his duties, we are told that Cassio now rules in Cyprus. As the new leader, he is given the responsibility of dealing with Othello's fate:

"To you Lord Governor, / Remains the censure of this hellish villain. / The time, the place, the torture O enforce it!" (Lodovico, Act V Scene 2)

As a result, the audience is left to ponder whether Cassio will be cruel to Othello or forgiving.

Roderigo is Iago’s dupe, his fool. In love with Desdemona and prepared to do anything to get her, Roderigo is easily manipulated by the evil Iago. Roderigo does not feel any loyalty towards  Othello , who he believes has stolen his love from him.

It is Roderigo, under the guidance of Iago, who goads Cassio into the fight that gets him dismissed from the army. Roderigo escapes from the scene undetected. Iago tricks him into giving him money to convince Desdemona to be with him and then encourages him to kill Cassio.

In Act IV, Roderigo finally gets wise to Iago's manipulation of him, declaring that "Everyday thou daff’st me with some device" (Act IV Scene II). Nevertheless, he is again convinced by the villain to follow through with the plan to kill Cassio, despite his misgiving. "I have no great devotion to the deed," Roderigo says. "And yet he hath given me satisfying reasons. / 'Tis but a man gone. Forth, my sword: he dies" (Act V Scene 1).

In the end, Roderigo is stabbed his only "friend," Iago , who does not want him to reveal his secret plot. However, Roderigo finally outsmarts him by quickly writing a letter which he places in his pocket, pointing to Iago’s involvement in the plot and his guilt. Although he ultimately dies, he is in some part redeemed by his letters:

"Now here’s another discontented paper / Found in his pocket too. And this it seems / Roderigo meant to have sent this damned villain, / But that, belike, Iago in the interim / Came in and satisfied him." (Lodovico, Act V Scene 2)

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Michael Cassio Quotes in Othello

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Othello’s Characters Analysis: Othello, Iago, Desdemona, & More

Othello is one of the most famous Shakespearean plays. Love, hatred, jealousy – everything is portrayed in it. The list of characters in Othello makes the play unique and exciting. In the present article, our experts have analyzed major and minor figures.

• 🧑🏾‍🤝‍🧑🏼 Character Map

👩🏼 Desdemona

👨🏼 roderigo, 🤼 minor characters.

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🎓 References

🧑🏾‍🤝‍🧑🏼 othello: character map.

The variety of Othello characters allows the conflict of the play to stay alive and for the events to develop gradually. Here, you can see all the crucial figures:

It is necessary to note that all of the characters in Othello are important. Yet, let’s start with the major ones.

The protagonist of the play. Othello is the general of the army of Venice, a Christian Moor who earned the respect of others. He is seen as a powerful, honest and straightforward figure. However, his age and race make him an easy target for the evil plots of his ensign Iago.

Othello Character Analysis

The general of the Venetian army, a Christian Moor, Desdemona’s husband – these are some of the parts of Othello’s description. However, these are only one side of the coin. The combination of Othello’s character traits makes him a complex hero.

He is a foreigner from Africa, different by race and culture. That makes his status more complicated. On the one hand, he is an experienced soldier who won the post of general by intelligence and excellence in the military. He is courageous, intelligent, and respected by his troops. However, on the other hand, he is a black Moor. His appearance is often described with such expressions as “the thick-lips,” “a Barbary horse,” and “an old black ram.” At times, the protagonist presents himself as an outsider because he recognizes himself as an outsider or feels insecure about being different from other Venetians.

Othello is constantly referred to as “Moor.” He is black among all the white people. When Othello (character) was referred to as black, others meant not only his skin but the concept of color symbolism. While white meant honor and innocence, black was guilt and wickedness.

Othello shares his life story with Desdemona. She sees right through it, and they both get involved in the secret marriage. Othello grew up in slavery and danger, and he’s used to the battlefield. Desdemona is the angel who brought love to Othello’s life. However, when it comes to managing love and marriage, he’s inexperienced. His insecurities make it easy for Iago to persuade him in Desdemona’s infidelity. Othello is a military man, active in his actions. Just the certainty that his wife betrayed him made the protagonist judge and execute Desdemona.

Iago manipulates Othello into believing that his wife has cheated, yet never provides any actual proof. However, the main character is eager to think that she is indeed unfaithful. That might be for two reasons:

• First, he believes that all women are inherently disloyal.
• Second, he might absorb the racist comments and believe that he is not good enough for Desdemona because of his skin color .

There might also be another possibility. Desdemona isn’t the one who Othello loves the most. It’s himself. Being an outsider has driven the main character to perfectionism. He is incredibly self-disciplined and obsessed with his self-image. A cheating wife ruins the reputation of a perfect general.

Throughout the play, the author uses animal imagery to describe characters, specifically, Othello. It was used to highlight the evil in the characters. In the beginning, Othello was a nobleman. Yet, he was constantly compared to animals throughout the play due to his race. As jealousy was overtaking him, he started to express animalistic behaviors. In other words, he was becoming evil.

The execution of Desdemona leads to the realization of the terrible act he had done. He destroyed the best he had in himself. The guilt consumes him, and he lies next to Desdemona and stabs himself.

💬 Othello’s Quotes

“My story being done, She gave me for my pains a world of sighs. She swore, in faith, twas strange, ’twas passing strange, Twas pitiful, ’twas wondrous pitiful. She wished she had not heard it, yet she wished That heaven had made her such a man. She thanked me, And bade me, if I had a friend that loved her, I should but teach him how to tell my story, And that would woo her. Upon this hint I spake She loved me for the dangers I had passed, And I loved her that she did pity them.” (Act 1 Scene 3)

“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.” (Act 3 Scene 3)

“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 vapor of a dungeon Than keep a corner in the thing I love For others’ uses.” (Act 3 Scene 3)

“I have done the state some service, and they know’t. No more of that. I pray you, in your letters, When you shall these unlucky deeds relate, Speak of me as I am; nothing extenuate, Nor set down aught in malice. Then, must you speak Of one that loved not wisely but too well.” (Act 5 Scene 2)

“I kissed thee ere I killed thee: no way but this, Killing myself, to die upon a kiss.” (Act 5 Scene 2)

The daughter of the Venetian senator Brabantio. Later in the play, Othello’s wife. She is a young, intelligent, and independent woman. She is fully capable of defending her marriage and responding to Othello’s jealousy.

Desdemona Character Analysis

Desdemona is a young, beautiful, bold, and independent woman. The love for Othello makes her take many risks. She refuses to marry any of the rich Venetian men. Instead, she becomes Othello’s wife. Even though he is a nobleman, he is a Moor, an outsider. She rebels against her father and does not marry a white man of choice. To add more, she rebels against the Venetian society, where interracial marriages were frowned upon.

Throughout the play, Othello and Desdemona’s relationships were going through some changes, and so was she. In the beginning, they loved and respected each other. However, Iago’s evil plot and Othello’s jealousy ruined it. Desdemona was an adventurous and independent woman, but after verbal and physical abuse, she becomes passive. She insists on her innocence until the very end. With her dying breath, she blames herself for the abuse from Othello’s side.

Desdemona was, literally, into her husband. She was madly in love with him. However, the reader could track some naivety in the character of Desdemona when it came to marital relationships. She asked Emilia if it was possible that a woman cheated on her husband. She wasn’t aware that Othello suspected her of infidelity, as the thought would’ve never crossed her mind. She’s loyal to her husband, even deathbed, as she finds it unbearable to think that her husband turned against her.

Strangely enough, Desdemona knew she was going to die. She asks Emilia to put her wedding sheets and to bury her in them. The last time Desdemona is alive, she sees Othello and sings The Willow Song she learned from her mother’s maid. So, how does Desdemona die? Her husband strangles her.

💬 Desdemona’s Quotes

“My noble father, I do perceive here a divided duty. To you I am bound for life and education: My life and education both do learn me How to respect you. You are the lord of duty, I am hitherto your daughter.” (Act 1 Scene 3)

“I am not merry; but I do beguile The thing I am, by seeming otherwise.” (Act 2 Scene 1)

“I think the sun where he was born Drew all such humors from him.” (Act 3 Scene 4)

“Beshrew me much, Emilia, I was, unhandsome warrior as I am, Arraigning his unkindness with my soul, But now I find I had suborned the witness, And he’s indicted falsely.” (Act 3 Scene 4)

” Kill me tomorrow; let me live tonight.” (Act 5 Scene 2)

Othello’s ensign and the main villain of the play. He desires revenge, though for unclear reasons. He claims that’s because the lieutenant position was given to somebody else. However, other times he provides different versions. It seems as he’s experiencing the delight in manipulation and hurting people.

Iago Character Analysis

Iago is the central character and Othello’s villain. Shakespeare presented him as a collection of puzzles as he is an artist of evil. Such Iago’s character traits, like charm and honesty – Honest Iago – when driven by jealousy and desire for revenge, make his evil plots easier to come true.

What’s interesting, Iago never provides solid motivation for his actions. He claims that he is upset with Cassio for taking the lieutenant position, with Othello for allegedly sleeping with his wife and becoming the general, despite the race. These do not explain Iago’s hatred for the general in full. There is a list of victims of Iago: Othello, Desdemona, Cassio, Roderigo, and his wife, Emilia. He damages people’s lives and enjoys it.

So, what motivates Iago? From what we’ve gathered, no real motives exist. However, Iago might be the “Vice” figure. These are generally personifications of immoral behaviors. That might be the case with Iago, as Shakespeare likely borrowed that literary tradition.

Another possible motivation for Iago’s behavior might be the deep love for the general. There was a suggestion that one of the underlying motives for the ensign’s hatred was the attraction to Othello. After all, he did enjoy ruining Othello’s marriage and expressed his love for the general constantly.

One of the lives Iago ruined was Emilia’s. Her murder could derive from both betrayal and his hatred towards all womanhood. He poorly treated her throughout the play, constantly disrespected her, and questioned her intelligence.

Iago enjoyed ruining people’s lives a little too much. He did it with a certain elegance as if enjoying his mastermind. He would stop at times and tell the audience about how great he is. Although quite unpleasant, Iago was indeed intelligent to plot his plans. He was able to deceive other characters at the time. And yet, the question of his punishment was left unanswered. Cassio is responsible for the decision whether to punish Iago or not.

💬 Iago’s Quotes

“For when my outward action doth demonstrate The native act and figure of my heart In compliment extern, ’tis not long after But I will wear my heart upon my sleeve For daws to peck at: I am not what I am.” (Act 1 Scene 1)

“Cassio’s a proper man. Let me see now: To get his place and to plume up my will In double knavery—How, how? Let’s see. After some time, to abuse Othello’s ear That he is too familiar with his wife. He hath a person and a smooth dispose To be suspected, framed to make women false. The Moor is of a free and open nature, That thinks men honest that but seem to be so, And will as tenderly be led by th’ nose As asses are.” (Act 1 Scene 3)

“I hate the Moor, And it is thought abroad, that ‘twixt my sheets Has done my office. I know not if ‘t be true, But I, for mere suspicion in that kind, Will do as if for surety.” (Act 1 Scene 3)

“O, beware, my lord, of jealousy! It is the green-eyed monster which doth mock The meat it feeds on.” (Act 3 Scene 3)

“Demand me nothing. What you know, you know. From this time forth I never will speak word.” (Act 5 Scene 2)

Michael Cassio is a young, inexperienced soldier who gets promoted to the lieutenant position. This upsets Iago, who is more experienced than the young man. He is loyal to the general and friendly with his wife. He is intelligent yet seems clueless about Iago’s evil plots.

Cassio Character Analysis

Cassio in Othello is young, handsome, and charismatic. However, he has his flaws. He is lightweight and a ladies’ man. Iago sees right through it and decides to use it for his benefit.

When Cassio gets drunk and loses his lieutenant position, he turns to Iago for help and support. The ensign advises him to talk to Desdemona to persuade her husband to give Cassio his job back. The young man worries about his reputation, and he blindly trusts Iago. His flirtatious charisma and friendly manner of communicating with women caused him some trouble. Plus, kissing Emilia in front of Iago might not have been the best idea. It becomes easier for Iago to persuade Othello that Cassio slept with Desdemona.

Even though the lieutenant is respectful towards Desdemona, he has some prejudice about women. There are only two existing categories of women in Cassio’s opinion: virgins and whores. That explains the friendly attitude towards Othello’s wife. However, he still had the tendency of mocking Bianca, the courtesan girl, who was head over heels in love with him.

Maybe, because he lacks military experience or is not Venetian, Cassio is a somewhat trusting character. That’s why he is often compared to Desdemona. However, unlike her, he evolves as a character. He understands that Iago is responsible for Desdemona’s death and helps Othello unveil the truth. He’s a changed man by the end of the play, way more cautious and attentive than before.

💬 Cassios’ Quotes

“’Tis my breeding That gives me this bold show of courtesy.” (Act 2 Scene 1)

“Oh, I have lost my reputation! I have lost the immortal part of myself and what remains is bestial.” (Act 2 Scene 3)

“Go to, woman, Throw your vile guesses in the devil’s teeth From whence you have them.” (Act 3 Scene 4)

“The worser that you give me the addition Whose want even kills me.” (Act 4 Scene 1)

“I marry her! What? A customer? Prithee bear some charity to my wit. Do not think it so unwholesome.” (Act 4 Scene 1)

Iago’s wife and Desdemona’s attendant. She highly respects Othello’s wife and has complicated relationships with her husband. She is a smart, sweet, and loyal woman. Though she betrays Desdemona at first, she redeems herself.

Emilia Character Analysis

At the beginning of the play, it might seem that Emilia is one of Iago’s puppets. She agrees to encourage her mistress to advocate on behalf of Cassio and steal the handkerchief. These suggest that she might have been aware of Iago’s plans and gladly helped him.

However, as the play progressed, Emilia provides an interesting perspective on womanhood . She claims that men are usually to blame when their wives cheat on them. Men cheat all the time, so women should have equal rights to do the same. Emilia’s monologue is a feminist manifesto. Or the closest thing we can get, considering it was written in the 1600s.

Throughout the play, Emilia and Desdemona develop a strong relationship. Though different at first, cynical and worldly, Emilia becomes good friends with young Desdemona. In fact, they bond thanks to issues with their husbands. While Emilia was trapped in toxic relationships with Iago, Desdemona had perfect, though temporary, relationships with Othello.

Emilia and Iago’s relationship is not something to describe as “perfect.” The ensign would constantly embarrass and disrespect his wife. He would make terrible remarks about her lacking intelligence. She stole the handkerchief in hopes that he would appreciate her at least a little bit. And yet, he didn’t.

One wrong action from Emilia’s side resulted in Desdemona’s death. When she realized that Othello killed his wife, she immediately lashed out at him. The man has just proven that he’s capable of killing, and she fearlessly promises to bring him justice. Then, she understands that Iago played an essential role in Desdemona’s death. She insists on telling everyone the evil plots of her husband. He threatens her to be quiet, but she doesn’t listen. Iago stabs his wife in desperation. Though she couldn’t undo Desdemona’s death, she could shed light on the truth and die behind her mistress.

💬 Emilia’s Quotes

“I am glad I have found this napkin. This was her first remembrance from the Moor. My wayward husband hath a hundred times Wooed me to steal it. But she so loves the token (For he conjured her she should ever keep it) That she reserves it evermore about her To kiss and talk to. I’ll have the work ta’en out And give ‘t Iago. What he will do with it Heaven knows, not I. I nothing but to please his fantasy.” (Act 3 Scene 3)

“Tis not a year or two shows us a man: They are all but stomachs, and we all but food: They eat us hungerly, and when they are full They belch us.” (Act 3 Scene 4)

“They are not ever jealous for the cause But jealous for they’re jealous.” (Act 3 Scene 4)

“But I do think it is their husbands’ faults If wives do fall. Say that they slack their duties, And pour our treasures into foreign laps; Or else break out in peevish jealousies, Throwing restraint upon us. Or say they strike us, Or scant our former having in despite, Why, we have galls, and though we have some grace, Yet have we some revenge. Let husbands know Their wives have sense like them. They see and smell, And have their palates both for sweet and sour, As husbands have. What is it that they do When they change us for others? Is it sport? I think it is. And doth affection breed it? I think it doth. Is ‘t frailty that thus errs? It is so too. And have not we affections, Desires for sport, and frailty, as men have? Then let them use us well. Else let them know,” (Act 4 Scene 3)

“No, I will speak as liberal as the north. Let heaven and men and devils, let them all, All, all, cry shame against me, yet I’ll speak.” (Act 5 Scene 2)

She is one of the three female characters of the play. Bianca (Othello) is a courtesan. She is in love with Cassio, who treats her poorly throughout the story. Yet, she can be viewed as the only truly independent woman.

Bianca Character Analysis

Bianca is a Venetian courtesan who is in love with Cassio. He is affectionate about her, but she’s not as important to him as his career. It first reveals itself when Bianca finds Desdemona’s handkerchief in his room. Cassio asks her to copy the pattern, and she doesn’t take this lightly. Bianca suspects that he has a new lover and becomes Cassio’s jealous lover in Othello . That plays well for Iago’s plan.

When the ensign insinuates that there is a romance between Desdemona and Cassio, Bianca enters with the handkerchief and refuses to copy it. This moment plays a crucial role in the play. Her outburst convinces Othello that something is going on between his wife and the lieutenant. This moment of jealousy also disproves Emilia’s theory that only men experience this feeling.

Bianca, in Othello , is a character that’s being socially pressured. She was a prostitute. At that time, married women were seen as ideal as their husbands ruled them. Meanwhile, prostitutes controlled themselves. Society was petrified by those women, as they could be in perfect control of their lives. Bianca is the perfect example of the fear of such power. She was not afraid to show her affection for Cassio, though he would not accept it. He was scared to see himself under her control.

Even though Bianca fancied Cassio and received payments and gifts from him, she was a free woman. No man owned her. Besides, Bianca’s character traits reveal that she’s not a shallow prostitute. She’s an empowered woman who shatters beliefs about male superiority.

As Iago stabbed Cassio, Bianca was accused of being part of the group which attacked the lieutenant. She is led off to be questioned about the attack and not mentioned in the play anymore.

A suitor of Desdemona. He is young, rich, and foolish, convinced that Iago will help him win the woman over. One major event upsets Roderigo – Othello married Desdemona. He is desperate enough to agree to help Iago kill Cassio, especially if the latter might be Desdemona’s lover.

Roderigo Character Analysis

Roderigo is an unintelligent, wealthy person who thinks that he might win Desdemona by presenting her expensive gifts. He asked Iago to be his wingman, but the ensign used Roderigo to make as much profit as possible.

Roderigo was planning to marry Desdemona. That’s why he is pretty upset over the fact that she secretly married a black man. Iago and Roderigo often call Othello racist and derogatory names.

Iago promises to help Roderigo with Desdemona. He is always ready to help Iago if it means that there is a chance of getting together with the woman he likes. He is suspicious of Iago but still allows him to be used for the evil plots.

As Iago mentioned that there is a possibility of Cassio sleeping with Desdemona, Roderigo was desperate enough to agree to help kill the lieutenant. He constantly falls for Iago’s smooth talk. That all ends with his tragic death. He gets stabbed in the back (literally) by Iago.

The Venetian senator and Desdemona’s father. The marriage of his daughter with the general comes as a shock to Brabantio. Othello was his friend. He feels betrayed by this action.

Duke of Venice

The official authority in Venice. Highly respects Othello with no racial prejudice. He is responsible for sending Othello to Cyprus.

Montano in Othello is the governor of Cyprus before the main character’s arrival.

Brabantio’s relative. He acts as a messenger, bringing letters from Venice to Cyprus.

Brabantio’s relative, who accompanies Lodovico. Othello ‘s final scene was chaotic, yet Gratiano mentions that Desdemona’s father has passed away.

Othello’s servant. He only appears for two short scenes. However, he reflects Othello’s language, as the latter gets consumed by jealousy.

Thanks for reading till the end! For more information about Othello ’s plot, themes, and symbols, check the links down below.

• Othello Characters — Shakespeare Birthplace
• Shakespeare’s Desdemona and Othello: an Analysis — Lee Jamieson, ThoughtCo
• Othello Character Descriptions — Shakespeare Learning Zone, Royal Shakespeare Company
• Othello: Summary & Characters — David Bevington, Britannica
• Character analysis: Iago in Othello — The British Library
• Desdemona and Emilia: Female friendship in Shakespeare’s Othello — Elise Walter, Folger Shakespeare Library
• Introduction to Shakespeare’s Cassio and Emilia from Othello — From Shakespearean Tragedy by A. C. Bradley, Shakespeare-online.com
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Home — Guides — Othello — Analysis of characters in “Othello”: the relationship of the heroes of the play

by William Shakespeare

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Michael Cassio

Duke of venice.

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Othello: Characters

Table of contents.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Other Characters in Othello

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Table of Contents

Cassio is a character to be loved in the fashion of Desdemona. He is shown in a very light manner and fits the typical notion of any handsome and good-natured military personnel.

Othello calls him not Cassio but by his Christian name which shows how truly fond of him he truly is. He is adored by Desdemona who must be aware of his goodness.

The fact that he goes to a woman like Bianca without any thought about her reputation shows how clear and true he is regarding how he looks like to others.

When he loses his title, he shows his distress over this loss of reputation so honestly. Even to the end, after the whole tragedy unfolds, he keeps no grudges against Othello and respects him which shows how truly his character recognised Othello’s nobility. 

When Desdemona questions her about her idea of committing such a sin of which Desdemona is being accused of, she answers that, “I would not do such a thing for a joint ring, nor…but, for the whole world, why, who wouldn’t make her husband a cuckold to make him a monarch?”

The way she gives away the handkerchief which later becomes the chief weapon of her husband in planting jealousy firmly in Othello’s mind shows us how thoughtless she is that she can’t perceive the cause behind his madness.

His first offence of being drunk immodestly under Iago’s influence takes away his official position and the second time he almost comes near his death. When he loses his title, he shows his distress over this loss of reputation so honestly.

Even to the end, after the whole tragedy unfolds, he keeps no grudges against Othello and respects him which shows how truly his character recognised Othello’s nobility. 

When Desdemona questions her about her idea of committing such a sin of which Desdemona is being accused of, she answers that, “ I would not do such a thing for a joint ring, nor…but, for the whole world, why, who wouldn’t make her husband a cuckold to make him a monarch? ”

Duke of Venice

Duke of Venice is shown in the beginning part of the play as someone who can judge the true worth of an individual. It is shown clearly in the way he has invested his faith in someone like Othello who at the very same time is prejudiced as a Moor by the likes of Brabantio, Iago and Roderigo.

When Brabantio, who is, in fact, a senator, brings to his court the matter of Othello and his daughter Desdemona, the Duke of Venice isn’t easily lured into his misjudgement, rather he investigates to know the truth of their relationship in details and the judgement he rules out shows his ruling wisdom.

Lodovico is the cousin of Desdemona. In the play, his character is used to give us an idea of how Othello really is and his social perception by the ruling courtiers. He works as a diplomat too in the kingdom of Venice.

He knows Othello from the very beginning as a man of composure and grace but arriving in Cyprus, he witnesses Desdemona being hurt by Othello which makes him question the true quality of Othello.

by William Shakespeare

Othello summary and analysis of act ii, act ii, scene i: a sea-port in cyprus. an open place near the quay..

A terrible storm has struck Cyprus, just as the Turks were about to approach. The Turkish attack may have been quelled, but it also bodes badly for Othello 's ship. A messenger enters, and confirms that the Turkish fleet was broken apart by the storm, and that Cassio has arrived, though Othello is still at sea. They spot a ship coming forth; but Iago , Desdemona , and Emilia are on it, not Othello.

Cassio greets them all, especially praising Desdemona; somehow, Iago and Desdemona enter into an argument about what women are, and Iago shows how little praise he believes women deserve. Othello arrives at last, and is very glad to see his wife arrived, much earlier than expected; he and Desdemona make public signs of their love, and then depart. Iago speaks to Roderigo , convincing him that Desdemona will stray from Othello, as she has already done with Cassio. He convinces Roderigo to attack Cassio that night, as he plans to visit mischief on both Othello and Cassio.

Storms are always of great significance in Shakespeare; here, the storm is a symbol of unrest and the discord to come. The storm marks the end of the peaceful part of the play, a signal that Iago's mischief is about to begin. The storm is also a great example of Shakespeare's deft use of language. The characters that comment on the storm are mariners, alluding to Ursa Minor and stars used for navigation; this is a testament to Shakespeare's ability to craft credible dialogue for a great diversity and range of characters.

Just as every character has their own manner of speech and expression, Cassio has a very polished, courtly way of speaking, especially of ladies. He describes Desdemona as one who "excels the quirks of blazoning pens"; he calls her "divine Desdemona," but at the same time, wishes Othello much joy of her (II.i.62, 72). As Iago learns that Cassio has no love for her, though much respect; so it is with much irony that Cassio is charged as being Desdemona's lover, when he is perhaps the only male figure in the play who has no feelings of passion for her. It is Cassio's courtly manner that makes him Othello's lieutenant; for Othello sees Cassio as a model Venetian, all poise and polish, which is something Othello wants to be, but thinks he is not. Othello's insecurities mean that Cassio is promoted over Iago, but also lead Othello to hold Cassio at a distance.

Though Iago is married, he does not have as favorable an impression of women as Cassio does. Women are "wildcats in your kitchens, saints in your injuries, devils being offended"; he even declares that they "rise to play, and go to bed to work" (II.i.110-114). Iago's perception of women as deceptive, dominating, and lusty colors the way he portrays both Emilia and Desdemona; both are good women, Desdemona exceedingly so, yet he is able to convince other men that they are anything but what they are.

"My invention comes from my pate as birdlime does from frieze," Iago says, though his analogy misrepresents his quick wit and subtle intelligence (II.i.125-126). Iago misrepresents himself throughout the play as honest, faithful, good-hearted, and here, as both foolish and jocular. But even as he minces words with Desdemona, he is observing her and Cassio, and plotting how to make a fictional affair between them look convincing. "With as little a web as this I will ensnare as great a fly as Cassio," he says; indeed, the simile speaks truly of his intent, and of his true powers of "invention" (II.i.168-169).

Misrepresentation is a theme that surfaces often through Iago's villainy; already, he makes Desdemona seem like a fickle, lusty woman, which he will soon try to convince Othello of. Iago's speech also plays on Othello's insecurities perfectly; he speaks of Othello's age, race, and manners as reasons why Desdemona will grow tired of him, which are also reasons why Othello fears he might lose her. Iago is a master of temptation; he is able to figure out exactly what people want, and then drive them to it, often by his mastery of speech. He is able to persuade Roderigo of Cassio and Desdemona's attachment by painting an innocent gesture as a sign of familiarity; yet, all the power that is in his words is in their interpretation, for Iago is also able to say everything and nothing at once, depending on the inclination of the hearer.

Though Iago seems grieved by Cassio's promotion over him, this does not seem to be his main, or only, motive. Iago mentions the promotion to Roderigo, to convince him that he hates Othello; but Iago also cites his suspicions that Emilia and Othello have had an affair as another reason for his enmity. But, at the same time, Iago is not a man to be consumed with sexual jealousy; though rumors about his wife may hurt his pride, they seem but an excuse for the misery he is about to cause. Iago's motives could be all of these reasons and more, or they could be none; indeed, Shakespeare leaves the root of Iago's malignancy unexplained, while showing the fruits of his evil in full.

Act II, scene ii: A street.

Othello's herald enters, to proclaim that the Turks are not going to attack. All should be joyful, and Othello is celebrating the happiness of his recent marriage.

Act II, scene iii: A hall in the castle.

Iago and Cassio are on the watch together; Iago gets Cassio to drink, knowing that he cannot hold his liquor. Iago also tries to coax Cassio's feelings about Desdemona, and make her seem tempting to him; but his intentions are innocent and friendly, so this approach fails. Cassio leaves, and Iago says that he intends to get Cassio drunk, which will hopefully cause a quarrel between Cassio and Roderigo, who has been stirred up against Cassio. Iago wants to see Cassio discredited, so that he may take Cassio's place as lieutenant.

Montano and others come, and Iago entertains them with small talk and song; soon, Cassio is drunk, and Roderigo has approached. Cassio fights offstage with Roderigo, and comes forth, chasing him; Montano tries to hinder Cassio, but Cassio just ends up injuring him. All the noise wakes Othello, who comes down to figure out what has happened. Montano tells what he knows, and Iago fills in the rest‹ - making sure to fictionalize his part. Cassio is stripped of his rank, and all leave Cassio and Iago alone.

Cassio laments that he has lost his reputation, which is very dear to him. Iago tries to convince him that a reputation means little; and, if he talks to Desdemona, maybe he can get her to vouch for him with Othello. This will help Iago hint that Desdemona and Cassio are together, which will enrage Othello. Iago then gives a soliloquy about knowing that Desdemona will speak for Cassio, and that he will be able to turn that against them both.

"Honest" emerges as a key word in this scene, a constant reminder of the dramatic irony of Iago's dealings. None of the characters in the play have any idea of Iago's plans and evil intentions; Othello and Cassio are especially unaware of this knowledge. Yet, the audience knows exactly what Iago is up to, and is able to see his deceptions for what they are. Tension lies in whether or not Cassio and Othello will come to know as much as the audience does about Iago's deviance.

When Othello addresses his wife before a crowd in this scene, his words are all of a financial nature. His use of the terms "purchase" and "profit" make it seem like Othello is trying to make his diction suitable for the crowd listening to him, and his tone is also less personal and more declarative. Othello's self-consciousness is apparent in these words to Desdemona. It seems that Othello is more interested in keeping up appearances than in showing love for his wife; indeed, he does love her, but he seems unable to allow his love to inhabit a private, personal sphere, apart from his public life and image.

Iago begins his attempt to corrupt Cassio in this act, by trying to get him to admit to impure thoughts about Desdemona. He speaks of Desdemona as being "sport for Jove," and "full of game" (II.iii.17-19); his depiction of Desdemona rings false, as does his attempt to insinuate lust into Cassio's mind. Iago's tone is highly suggestive and even transparent, but once again, a character is blind to Iago's machinations.

Cassio's flawed honor and courtliness are juxtaposed in this scene with Iago's manipulativeness and deceptiveness. Cassio stands in especially sharp contrast to Iago when Iago speaks lustfully of Desdemona; Cassio is full of honor when it comes to women, and the ideals of a courtier as well. "He's a soldier fit to stand by Caesar," Iago acknowledges. (II.iii.122). However, Iago strikes gold when he figures out Cassio's weakness for drink; it is this flaw that makes Cassio finally seem human, and tarnishes his golden, polished image. "He'll be as full of quarrel and offense as my young mistress' dog" (II.iii.51-52). Iago understands that liquor can separate even the best man from himself, and do great damage to his reputation, as "His vice Œtis to his virtue an equinox, one as long as th' other" (II.iii.123-124).

Iago, much more than anyone else in the play, is always aware of what his status and his chances are; he is sharp enough to know when his plans are going to work, and when he needs to change his approach. "If consequence do but approve my dream, my boat sails freely, both with wind and stream" (II.iii.63-64). Perceptiveness is yet another motif in the play; it helps Iago do all of his dirty deeds, yet condemns Othello and Cassio when they cannot muster up enough of it to see that Iago is up to no good. Iago takes advantage of this flaw, and sets the quarrel in motion.

When Othello breaks up the quarrel, he asks, "are we turn'd Turks" (II.iii.170). Indeed the Turks are the enemy in Cyprus, but it is interesting that Othello uses language that conveys otherness. Much like the stereotypes that are hurled his way, Othello contrasts the "barbarous" behavior with the "Christian" brotherhood of the Venetians. His language dehumanizes the Turks and makes them seem animal, echoing Brabantio 's dismissal of Othello in front of the Duke. This is a common tactic in times of war, to foment national pride while denigrating the enemy. However, this isn't war that Othello is in, and things are not as clear-cut in personal battles and politics. Othello considers all of his men in Cyprus to be friends, since they are allies; this is another example of Othello's confusion between the worldly and the personal spheres. Hence, Iago is again able to successfully misrepresent himself; this time, he pretends that he is there merely to settle the quarrel, when he is the engineer of the whole affair.

Cassio mourns the demise of his "reputation" above all else. Iago also knows the importance of reputation, which is why he makes sure that people see him as "honest" above anything else. "Reputation is a most idle and false imposition," Iago says; but this statement is a false consolation (II.iii.268-269). Cassio tries to find a villain in all that has happened; "invisible spirit of wine...Šlet us call thee devil" (II.iii.282-283). Of course, he misses the identity of the real devil in the situation, Iago. Good vs. evil is a major theme in the play, though there is a great deal of gray area; though Iago is the villain, everyone else has some blemish on their natures which makes them easily corruptible, and not entirely deserving of the label "good".

The rest of Iago's plan at last falls into place after his discussion with Cassio. "I will turn her virtue into pitch," he says of Desdemona, hearkening back to the light/dark imagery earlier in the act. He will "out of her own goodness make the net that shall enmesh them all" (II.iii.361-363). Once again, Iago closes the act with a speech addressed to the audience; although Othello is the title character, and his dilemma is central to the play, Iago is even more central to the events of the play, and to the audience.

Othello Questions and Answers

The Question and Answer section for Othello is a great resource to ask questions, find answers, and discuss the novel.

what attributers of the green eyed monster jealousy are made painful apparent as the scene progresses

Jealousy is the green-eyed monster in this scene. In Act 3 scene 3 Othello pretty much displays his jealousy,

desdemonas speech here confirms the masterly nature of iagos plot with what words does she assure cassio that she will do her best to get him reinstated

What is your question here?

why does othello ignore the cries for help?

Othello is hurdling towards self-destruction: sadly, by the deaths of people closest to him. Like tragic heroes such as Macbeth, Othello's senses are dull to tragedy and screams of terror. Roderigo and Cassio fight, and both are injured; Othello...

Study Guide for Othello

Othello study guide contains a biography of William Shakespeare, literature essays, a complete e-text, quiz questions, major themes, characters, and a full summary and analysis.

• About Othello
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Essays for Othello

Othello essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Othello by William Shakespeare.

• Iago and Edmund: The Silence and Complexity of Evil
• Unity in Shakespeare's Tragedies
• Inevitability and the Nature of Shakespeare's Tragedies
• Witchy Women: Female Magic and Otherness in Western Literature
• Racism in Othello

Lesson Plan for Othello

• About the Author
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• Common Core Standards
• Introduction to Othello
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
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E-Text of Othello

Othello e-text contains the full text of Othello by William Shakespeare.

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Cassio Essay and Analysis for Othello Study (A-Level English Literature)

Subject: English

Age range: 16+

Resource type: Assessment and revision

Last updated

19 April 2024

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Want to aim high with A-Level English Literature? Want a good grade for your Othello essay? This is most certainly the resource for you in order to nail essay writing and planning. Pleased to say that this essay received full marks from an Edexcel A-Level Examiner, thus it could be used as an ‘exemplar’ (added elements from critics and websites included that can easily be cut if needed).

Explore the ways in which Shakespeare presents Cassio in Othello. You must relate your discussion to relevant contextual factors and ideas from your critical reading.

Introduction, Foil to Othello and Iago; Dramatic Function; Thematic Function and Restorer of Order and Morality.

Although tailored to the Edexcel course, this resource is great for the AQA, OCR and WJEC courses as well.

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

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

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