Othello- Metaphor

Othello, the Moor of Venice
William Shakespeare

When talking about murdering the beautiful Desdemona, Othello compares it to a few different things.  These comparisons shows how Othello still loves Desdemona, and recognizes her beauty and vitality.
"Put out the light, and then put out the light. If I quench thee, thou flaming minister, I can again thy former light restore...When I have plucked the rose, I cannot give it vital growth again.  It needs must wither. I'll smell it on the tree" (V.i.7-15)
Desdemona is compared to a light and a rose.  Both of these things are beautiful and enjoyable.  Othello says that a candle can be relight, but once he kills Desdemona, he cannot bring her back.  And once he plucks the rose, I cannot live anymore, it has no choice but to die.  The last sentence is Othello appreciating Desdemona's beauty and life while she maintains it- just like he would smell a rose before he plucks it and it dies.  Roses are sweet and light is warm, just like Desdemona.  These comparisons show that Othello might be slightly reluctant to murder her, or at least a little saddened by it.  He cries, but they are cruel tears.
Though he might regret it, and though he seems hesitant, Othello ends up killing Desdemona.  Just like the beautiful rose is plucked and the bright light is extinguished.

Othello- Juxtaposition/Diction

Othello, the Moor of Venice
William Shakespeare
Act IV, scene 1

Once Othello is convinced that Desdemona is having an affair with Casiso, he enraged with Cassio.  "I would have him nine years a-killing" (IV.i.166).  But Othello stil compliments Desdemona, because he still has feelings for her.  "A fine woman! A fair woman! A sweet woman!" (IV.i.166-167).  Iago tells Othello  he must forget that, and Othello's feelings or expression of them seem to do a complete 180.  "Aye, let her rot, and perish, and be damned tonight, for she shall not live."  But then he goes back to positive diction: "Oh the world hath not a sweeter creature" (IV.i.169-171).
Iago tells Othello to cut it out, and Othello keeps switching back and forth in his feelings for Desdemona: "Hang her! I do but say what she is, so delicate with her needle, an admirable musician- oh, she will sing the savageness out of a bear- of so high and plenteous wit and invention-...And then, of so gentle a condition... I will chop her into messes" (IV.i.174-184).
These juxtaposing thoughts/words reveal the complex emotions Othello is experiencing.  He loves his wofe very much, and is crushed by the thought that she would cheat on him.  Othello hates Cassio and at times, seems to want Desdemona dead, but part of him still loves her.  These crazy emotions will most likely allow Iago to be even more manipulative and he will be able to more easily convince Othello to take drastic measures, like killing Desdemona.  Soon we shall see which of the conflicting emotions wins out... (since Othello is a trajedy, I'm going to hazard a guess that the negative emotion prevails and Desdemona ends up getting strangled in her bed...but thats just a guess.)

Othello- Symbol

Othello, the Moore of Venice
William Shakespeare

The handkerchief was first mentioned early in the play, and Othello later tells Iago why it is so important.  It has a history in his family.  Iago had told Othello that he saw Cassio with the handkerchief, and that was proof that Cassio and Desdemona have a relationship.

Iago mentions the handkerchief again at the beginning of Act IV.  He tells Othello that if he, Iago, gives his wife something, like a handkerchief, it is hers to give away.  Iago is trying to manipulate and anger Othello.  Speaking of the handkerchief, Iago says, "Why, then, 'tis hers, my lord, and being hers, she may, I think, bestow't on any man."  Othello replies, "She is protectoress of her honor too.  May she give that?" (IV.i.12-15).  Othello is reiterating the importance of the handkerchief and compares Desdemona's giving it away to giving away her honor.  The handkerchief is very important to Othello and if he finds that another man has it, he will be furious.
When Iago brings up the handkerchief again, Othello says, "By Heavan, I would most gladly have forgot it. Thou said'st- oh it comes o'er my memory, as doth the raven o'er the infected house boding to all- he had my handkerchief" (IV.i.19-22).  Here the handkerchief is compared to an evil omen.  It will bring evil tidings to all (foreshadowing?).  Othello is convinced that Cassio has the handkerchief, and therefore believes that Cassio is in a relationship with Desdemona.
Later in the first scene, Bianca storms in and yells about the handkerchief found in Cassio's house.  It was Desdemona's.  Iago suggests to Othello that Desdemona gave it Cassion, who then gave it to his whore.  Othello is so hurt that he wants Desdemona dead
Just like with Othello's parents, the husband will no longer love the wife if she looses the handkerchief.
The prophecy has come true.

symbol

Othello- Minor Characters

Othello, the Moor of Venice
William Shakespeare

Though Iago is truthfully the main focus of the play, and Othello is obviously important, hence the title, the minor characters also play an important role. Roderigo is introduced as, basically, Iago's puppet. Desdemona is Brabantio's daughter and Othello's wife, and is involved with other people, including Iago's wife Emilia.
Roderigo does whatever Iago says, even selling his land for money that Iago told him to get. Roderigo follows Iago's advice, even when Iago is only using him.
Iago and Desdemona have a conversation about women that characterizes both of them. Iago is misogynistic and critical, and Desdemona is out spoken and clever. Desdemona might be a force to be reckoned with in Iago's unfolding plans.
One character that was specifically characterized in Acts II and III was Iago's wife, Emilia. Iago says she is nagging and loud. But, Emilia barely even spoke in Act II. But soon, Emilia is characterized by her actions she takes in reference to Desdemona's cherished handkerchief. "Emilia: 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..." (III.iii.291-294) Even though her husband isn't very nice to her, she still obeys his wishes, even though they might hurt her friend Desdemona. I am interested to see how the minor characters continue to add to the complexity of the work, and also how Iago will find a way to use these minor characters to his benefit.

Othello- Motivation

Othello, the Moor of Venice
William Shakespeare

The primary question to all of Iago’s plans and ideas is, why is he doing this? What is the end to his evil means?  Some may argue that Iago is pure evil, that he gets joy out of manipulating other people like his naïve puppets.  I say that Iago has a few concrete, and extremely selfish goals, and that he will do anything he can to reach them.  ‘Anything’ includes hurting, using, and selfishly using others for his own personal gain.  Iago initially uses Roderigo for his money, then he wants Roderigo to start a fight with Cassio so that Cassio will lose his job.  Iago tells Roderigo that Cassio stands in the way of Roderigo’s possible relationship with Desdemona.  Iago says that Cassio would be Desdemona’s second choice if she left Othello and that Cassio was flirting with her: “Didst thou not see her paddle with the palm of his hand? Didst not mark that?” (II.i.240-241)  Iago truly wants Cassio to be fired because he wants Cassio’s job.  He wants to be Othello’s lieutenant.  Iago manipulates others simply to get what he wants, and I’m sure he will continue to do that throughout the play.

Othello- Dramatic Irony

Othello, the Moor of Venice
William Shakespeare

The unique point of view leads to an abundance of dramatic irony.  I cannot count the times in the first three acts that Iago was referred to as “honest Iago.”  But since the point of view is told from the view of Iago, the reader knows that Iago is the complete opposite of honest.  Iago is manipulating every single person he comes in contact with, yet still manages to keep face in front of Cassio, Othello, and others.  “Othello: Iago is most honest” (II.iii.7).

When Iago tries to convince Cassio to drink, because it’s a party and everyone is doing it, Cassio replies, “Not tonight, good Iago. I have very poor and unhappy brains for drinking” (II.iii.28).  Iago knows that Cassio is a lightweight, and wants to get him drunk so that he will start a fight and lose his job.  And even when Cassio does lose his job because of Iago, he still takes Iago’s advice on how to get back into Othello’s favor.  But Iago’s advice to Cassio will simply make it easier for Iago to convince Othello that Cassio and Desdemona have a relationship.  The reason the reader knows all this is because of Iago’s aside and soliloquies.  Because the reader knows Iago’s motives and plans, but he comes off as honest, loving and caring to the other characters, there is constant dramatic irony.

Othello- Point of View

Othello, the Moor of Venice
William Shakespeare

The point of view in this play is very important to the concept of the story and the meaning of the work as a whole.  The point of view is unique in that the story is from the side of the villain.  The reader sees events as Iago, the antagonist, sees them.  This gives the reader a behind the scenes look on the evil plotting of the villain, which leads to a greater understanding of many of the characters, especially Iago.  The reader sees how Iago manipulates various characters, including Roderigo and Montano, for his own gain.  For example, Iago uses Roderigo to get money. “Roderigo: Iago, who hast had my purse As if the strings were his” (I.i.2-3).  “Iago: Thus do I ever make my fool my purse” (III.iii.363).

If the point of view was that of the protagonist, Othello, the reader would see the actions of characters such as Roderigo and Mon, but we would not know the driving force behind the actions.  Iago could be argued as the protagonist because he really is the driving force behind the action of the play.  From the point of view the play is written in, the reader sees first-hand the source of the coercion and conflict.