Othello Characters Analysis features noted Shakespeare scholar William Hazlitt's famous critical essay about characters of Othello.
IT has been said that tragedy purifies the affections by terror and pity. That is, it substitutes imaginary sympathy for mere selfishness. It gives us a high and permanent interest, beyond ourselves, in humanity as such. It raises the great, the remote, and the possible to an equality with the real, the little and the near. It makes man a partaker with his kind. It subdues and softens the stubbornness of his will. It teaches him that there are and have been others like himself, by showing him as in a glass what they have felt, thought, and done. It opens the chambers of the human heart. It leaves nothing indifferent to us that can affect our common nature. It excites our sensibility by exhibiting the passions wound up to the utmost pitch by the power of imagination or the temptation of circumstances; and corrects their fatal excesses in ourselves by pointing to the greater extent of sufferings and of crimes to which they have led others. Tragedy creates a balance of the affections. It makes us thoughtful spectators in the lists of life. It is the refiner of the species; a discipline of humanity. The habitual study of poetry and works of imagination is one chief part of a well-grounded education. A taste for liberal art is necessary to complete the character of a gentleman. Science alone is hard and mechanical. It exercises the understanding upon things out of ourselves, while it leaves the affections unemployed, or engrossed with our own immediate, narrow interests.OTHELLO furnishes an illustration of these remarks. It excites our sympathy in an extraordinary degree. The moral it conveys has a closer application to the concerns of human life than that of almost any other of Shakespear's plays. "It comes directly home to the bosoms and business of men." The pathos in Lear is indeed more dreadful and overpowering: but it is less natural, and less of every day's occurrence. We have not the same degree of sympathy with the passions described in Macbeth. The interest in Hamlet is more remote and reflex. That of OTHELLO is at once equally profound and affecting.
The picturesque contrasts of character in this play are almost as remarkable as the depth of the passion. The Moor Othello, the gentle Desdemona, the villain Iago, the good-natured Cassio, the fool Roderigo, present a range and variety of character as striking and palpable as that produced by the opposition of costume in a picture. Their distinguishing qualities stand out to the mind's eye, so that even when we are not thinking of their actions or sentiments, the idea of their persons is still as present to us as ever. These characters and the images they stamp upon the mind are the farthest asunder possible, the distance between them is immense: yet the compass of knowledge and invention which the poet has shewn in embodying these extreme creations of his genius is only greater than the truth and felicity with which he has identified each character with itself, or blended their different qualities together in the same story. What a contrast the character of Othello forms to that of Iago! At the same time, the force of conception with which these two figures are opposed to each other is rendered still more intense by the complete consistency with which the traits of each character are brought out in a state of the highest finishing. The making one black and the other white, the one unprincipled, the other unfortunate in the extreme, would have answered the common purposes of effect, and satisfied the ambition of an ordinary painter of character. Shakespear has laboured the finer shades of difference in both with as much care and skill as if he had had to depend on the execution alone for the success of his design. On the other hand, Desdemona and Æmilia are not meant to be opposed with anything like strong contrast to each other. Both are, to outward appearance, characters of common life, not more distinguished than women usually are, by difference of rank and situation. The difference of their thoughts and sentiments is however laid open, their minds are separated from each other by signs as plain and as little to be mistaken as the complexions of their husbands.
The movement of the passion in Othello is exceedingly different from that of Macbeth. In Macbeth there is a violent struggle between oppo-site feelings, between ambition and the stings of conscience, almost from first to last: in Othello, the doubtful conflict between contrary passions, though dreadful, continues only for a short time, and the chief interest is excited by the alternate ascendancy of different passions, by the entire and unforeseen change from the fondest love and most unbounded confidence to the tortures of jealousy and the madness of hatred. The revenge of Othello, after it has once taken thorough possession of his mind, never quits it, but grows stronger and stronger at every moment of its delay. The nature of the Moor is noble, confiding, tender, and generous; but his blood is of the most inflammable kind; and being once roused by a sense of his wrongs, he is stopped by no considerations of remorse or pity till he has given a loose to all the dictates of his rage and his despair. It is in working his noble nature up to this extremity through rapid but gradual transitions, in raising passion to its height from the smallest beginnings and in spite of all obstacles, in painting the expiring conflict between love and hatred, tenderness and resentment, jealousy and remorse, in unfolding the strength and the weakness of our nature, in uniting sublimity of thought with the anguish of the keenest woe, in putting in motion the various impulses that agitate this our mortal being, and at last blending them in that noble tide of deep and sustained passion, impetuous but majestic, that "flows on to the Propontic, and knows no ebb," that Shakespear has shewn the mastery of his genius and of his power over the human heart. The third act of OTHELLO is his finest display, not of knowledge or passion separately, but of the two combined, of the knowledge of character with the expression of passion, of consummate art in the keeping up of appearances with the profound workings of nature, and the convulsive movements of uncontroulable agony, of the power of inflicting torture and of suffering it. Not only is the tumult of passion in Othello's mind heaved up from the very bottom of the soul, but every the slightest undulation of feeling is seen on the surface as it arises from the impulses of imagination or the malicious suggestions of Iago. The progressive preparation for the catastrophe is wonderfully managed from the Moor's first gallant recital of the story of his love, of "the spells and witchcraft he had used," from his unlooked-for and romantic success, the fond satisfaction with which he dotes on his own happiness, the unreserved tenderness of Desdemona and her innocent importunities in favour of Cassio, irritating the suspicions instilled into her husband's mind by the perfidy of Iago, and rankling there to poison, till he loses all command of himself, and his rage can only be appeased by blood. She is introduced, just before Iago begins to put his scheme in practice, pleading for Cassio with all the thoughtless gaiety of friendship and winning confidence in the love of Othello.
"What! Michael Cassio?
That came a wooing with you, and so many a time,
When I have spoke of you dispraisingly,
Hath ta'en your part, to have so much to do
To bring him in?-Why this is not a boon:
'Tis as I should intreat you wear your gloves,
Or feed on nourishing meats, or keep you warm;
Or sue to you to do a peculiar profit
To your person. Nay, when I have a suit,
Wherein I mean to touch your love indeed,
It shall be full of poise, and fearful to be granted."
Othello's confidence, at first only staggered by broken hints and insinuations, recovers itself at sight of Desdemona; and he exclaims
"If she be false, O then Heav'n mocks itself:
I'll not believe it."
But presently after, on brooding over his suspicions by himself, and yielding to his apprehensions of the worst, his smothered jealousy breaks out into open fury, and he returns to demand satisfaction of Iago like a wild beast stung with the envenomed shaft of the hunters. "Look where he comes," etc. In this state of exasperation and violence, after the first paroxysms of his grief and tenderness have had their vent in that passionate apostrophe, "I felt not Cassio's kisses on her lips," Iago, by false aspersions, and by presenting the most revolting images to his mind,1 easily turns the storm of passion from himself against Desdemona, and works him up into a trembling agony of doubt and fear, in which he abandons all his love and hopes in a breath.
"Now do I see 'tis true. Look here, Iago,
All my fond love thus do I blow to Heav'n. 'Tis gone.
Arise black vengeance from the hollow hell;
Yield up, O love, thy crown and hearted throne
To tyrannous hate! Swell bosom with thy fraught,
For 'tis of aspicks' tongues."
From this time, his raging thoughts "never look back, ne'er ebb to humble love," till his revenge is sure of its object, the painful regrets and involuntary recollections of past circumstances which cross his mind amidst the dim traces of passion, aggravating the sense of his wrongs, but not shaking his purpose. Once indeed, where Iago shews him Cassio with the handkerchief in his hand, and making sport (as he thinks) of his misfortunes, the intolerable bitterness of his feelings, the extreme sense of shame, makes him fall to praising her accomplishments and relapse into a momentary fit of weakness, "Yet, oh the pity of it, Iago, the pity of it!" This returning fondness however only serves, as it is managed by Iago, to whet his revenge, and set his heart more against her. In his conversations with Desdemona, the persuasion of her guilt and the immediate proofs of her duplicity seem to irritate his resentment and aversion to her; but in the scene immediately preceding her death, the recollection of his love returns upon him in all its tenderness and force; and after her death, he all at once forgets his wrongs in the sudden and irreparable sense of his loss.
1 See the passage, beginning-"It is impossible you should see this, were they as prime as goats," etc.
"My wife! My wife! What wife? I have no wife.
Oh insupportable I Oh heavy hour!"
This happens before he is assured of her inno-cence; but afterwards his remorse is as dreadful as his revenge has been, and yields only to fixed and death-like despair. His farewell speech, before he kills himself, in which he conveys his reasons to the senate for the murder of his wife, is equal to the first speech in which he gave them an account of his courtship of her, and "his whole course of love." Such an ending was alone worthy of such a com-mencement.
If anything could add to the force of our sym-pathy with Othello, or compassion for his fate, it would be the frankness and generosity of his nature, which so little deserve it. When Iago first begins to practise upon his unsuspecting friendship, he answers-
" 'Tis not to make me jealous,
To say my wife is fair, feeds well, loves company,
Is free of speech, sings, plays, and dances well;
Where virtue is, these are most virtuous.
Nor from my own weak merits will I draw
The smallest fear or doubt of her revolt,
For she had eyes and chose me."
This character is beautifully (and with affecting simplicity) confirmed by what Desdemona herself says of him to Æmilia after she has lost the hand-kerchief, the first pledge of his love to her.
"Believe me, I had rather have lost my purse
Full of cruzadoes. And but my noble Moor
Is true of mind, and made of no such baseness,
As jealous creatures are, it were enough
To put him to ill thinking.
Æmilia. Is he not jealous?
Desdemona. Who, he? I think the sun where he was
Drew all such humours from him."
In a short speech of Æmilia's, there occurs one of those side-intimations of the fluctuations of passion which we seldom meet with but in Shakespear. After Othello has resolved upon the death of his wife, and bids her dismiss her attendant for the night, she answers,
"I will, my Lord.
Æmilia. How goes it now? He looks gentler than
Shakespear has here put into half a line what some authors would have spun out into ten set speeches.
The character of Desdemona is inimitable both in itself, and as it appears in contrast with Othello's groundless jealousy, and with the foul conspiracy of which she is the innocent victim. Her beauty and external graces are only indirectly glanced at:
we see "her visage in her mind"; her character everywhere predominates over her person.
"A maiden never bold:
Of spirit so still and quiet, that her motion
Blush'd at itself."
There is one fine compliment paid to her by Cassio, who exclaims triumphantly when she comes ashore at Cyprus after the storm,
"Tempests themselves, high seas, and howling winds,
As having sense of beauty, do omit
Their mortal natures, letting safe go by
The divine Desdemona."
In general, as is the case with most of Shake-spear's females, we lose sight of her personal charms in her attachment and devotedness to her husband. "She is subdued even to the very quality of her lord"; and to Othello's "honours and his valiant parts her soul and fortunes consecrates." The lady protests so much herself, and she is as good as her word. The truth of conception, with which timidity and boldness are united in the same character, is marvellous. The extravagance of her resolutions, the pertinacity of her affections, may be said to arise out of the gentleness of her nature. They imply an unreserved reliance on the purity of her own intentions, an entire surrender of her fears to her love, a knitting of herself (heart and soul) to the fate of another. Bating the commencement of her passion, which is a little fantastical and headstrong (though even that may perhaps be con-sistently accounted for from her inability to resist a rising inclination 1) her whole character consists in having no will of her own, no prompter but her obedience. Her romantic turn is only a consequence of the domestic and practical part of her disposition; and instead of following Othello to the wars, she would gladly have "remained at home a moth of peace," if her husband could have staid with her. Her resignation and angelic sweetness of temper do not desert her at the last. The scenes in which she laments and tries to account for Othello's estrangement from her are exquisitely beautiful. After he has struck her, and called her names, she says,
What shall I do to win my lord again?
Good friend, go to him; for by this light of heaven,
I know not how I lost him. Here I kneel;
If e'er my will did trespass 'gainst his love,
Either in discourse, or thought, or actual deed,
Or that mine eyes, mine ears, or any sense
Delighted them on any other form;
Or that I do not, and ever did,
1 "Iago. Ay, too gentle.
Othello, Nay, that's certain."
And ever will, though he do shake me off
To beggarly divorcement, love him dearly,
Comfort forswear me. Unkindness may do much,
And his unkindness may defeat my life,
But never taint my love.
Iago. I pray you be content: 'tis but his humour.
The business of the state does him offence.
Desdemona. If 'twere no other!"--
The scene which follows with Æmilia and the song of the Willow, are equally beautiful, and show the author's extreme power of varying the expression of passion, in all its moods and in all circumstances.
"Æmilia. Would you had never seen him.
Desdemona. So would not I: my love doth so approve him,
That even his stubbornness, his checks, his frowns,
Have grace and favour in them," etc.
Not the unjust suspicions of Othello, not Iago's unprovoked treachery, place Desdemona in a more amiable or interesting light than the conversation (half earnest, half jest) between her and Æmilia on the common behaviour of women to their husbands. This dialogue takes place just before the last fatal scene. If Othello had overheard it, it would have prevented the whole catastrophe; but then it would have spoiled the play.
The character of Iago is one of the supererogations of Shakespear's genius. Some persons, more nice than wise, have thought this whole character unnatural, because his villainy is without a sufficient motive. Shakespear, who was as good a philosopher as he was a poet, thought otherwise. He knew that the love of power, which is another name for the love of mischief, is natural to man. He would know this as well or better than if it had been demonstrated to him by a logical diagram, merely from seeing children paddle in the dirt or kill flies for sport. Iago in fact belongs to a class of character, common to Shakespear and at the same time peculiar to him; whose heads are as acute and active as their hearts are hard and callous. Iago is to be sure an extreme instance of the kind; that is to say, of diseased intellectual activity, with the most perfect indifference to moral good or evil, or rather with a decided preference of the latter, because it falls more readily in with his favourite propensity, gives greater zest to his thoughts and scope to his actions. He is quite or nearly as indifferent to his own fate as to that of others; he runs all risks fo a trifling and doubtful advantage; and is himself the dupe and victim of his ruling passion-an in-satiable craving after action of the most difficult and dangerous kind. "Our ancient" is a philosopher, who fancies that a lie that kills has more point in it than an alliteration or an antithesis; who thinks a fatal experiment on the peace of a family a better thing than watching the palpitations in the heart of a flea in a microscope; who plots the ruin of his friends as an exercise for his ingenuity, and stabs men in the dark to prevent ennui. His gaiety, such as it is, arises from the success of his treachery; his ease from the torture he has inflicted on others. He is an amateur of tragedy in real life; and instead of employing his invention on imaginary characters, or long-forgotten incidents, he takes the bolder and more desperate course of getting up his plot at home, casts the principal parts among his nearest friends and connections, and rehearses it in down-right earnest, with steady nerves and unabated resolution. We will just give an illustration or two.
One of his most characteristic speeches is that immediately after the marriage of Othello.
"Roderigo. What a full fortune does the thick lips owe,
If lie can carry her thus!
Iago. Call up her father:
Rouse him (Othello) make after him, poison his delight,
Proclaim him in the streets, incense her kinsmen,
And tho' he in a fertile climate dwell,
Plague him with flies: tho' that his joy be joy,
Yet throw such changes of vexation on it,
As it may lose some colour."
In the next passage, his imagination runs riot in the mischief he is plotting, and breaks out into the wildness and impetuosity of real enthusiasm.
"Roderigo. Here is her father's house: I'll call aloud.
Iago. Do, with like timourous accent and dire yell
As when, by night and negligence, the fire
Is spied in populous cities."
One of his most favourite topics, on which he is rich indeed, and in descanting on which his spleen serves him for a Muse, is the disproportionate match between Desdemona and the Moor. This is a clue to the character of the lady which he is by no means ready to part with. It is brought forward in the first scene, and he recurs to it, when in answer to his insinuations against Desdemona, Roderigo says,
"I cannot believe that in her-she's full of most blest
Iago. Bless'd fig's end. The wine she drinks is made of
grapes. If she had been blest, she would never have married
And again with still more spirit and fatal effect afterwards, when he turns this very suggestion arising in Othello's own breast to her prejudice.
"Othello. And yet how nature erring from itself
Iago. Ay, there's the point;as to be bold with you,
Not to affect many proposed matches
Of her own clime, complexion, and degree," etc.
This is probing to the quick. Iago here turns the character of poor Desdemona, as it were, inside out. It is certain that nothing but the genius of Shakespear could have preserved the entire interest and delicacy of the part, and have even drawn an additional elegance and dignity from the peculiar circumstances in which she is placed.The habitual licentiousness of Iago's conversation is not to be traced to the pleasure he takes in gross or lascivious images, but to his desire of finding out the worst side of everything, and of proving himself an over-match for appearances. He has none of "the milk of human kindness" in his composition. His imagination rejects everything that has not a strong infusion of the most unpalatable ingredients; his mind digests only poisons. Virtue or goodness or whatever has the least "relish of salvation in it," is, to his depraved appetite, sickly and insipid: and he even resents the good opinion entertained of his own integrity, as if it were an affront cast on the masculine sense and spirit of his character. Thus at the meeting between Othello and Desdemona, he exclaims"Oh, you are well tuned now: but I'll set down the pegs that make this music, as honest as I am"-his character of bonhommie not sitting at all easy upon him. In the scenes, where he tries to work Othello to his purpose, he is proportionably guarded, insidious, dark, and deliberate. We believe nothing ever came up to the profound dissimulation and dextrous artifice of the well-known dialogue in the third act, where he first enters upon the execution of his design.
"Iago. My noble lord.
Othello. What dost thou say, Iago?
Iago. Did Michael Cassio,
When you woo'd my lady, know of your love?
Othello. He did from first to last.
Why dost thou-ask?
Iago. But for a satisfaction of my thought,
No further harm.
Othello. Why of thy thought, Iago?
Iago. I did not think he had been acquainted with it.
Othello. O yes, and went between us very oft
Othello. Indeed? Ay, indeed. Discern'st thou aught of
Is he not honest?
Iago. Honest, my lord?
Othello. Honest? Ay, honest.
Iago. My lord, for aught I know.
Othello. What do'st thou think?
Iago. Think, my lord!
Othello. Think, my lord! Alas, thou echo'st me,
As if there was some monster in thy thought
Too hideous to be shewn."
The stops and breaks, the deep workings of treachery under the mask of love and honesty, the anxious watchfulness, the cool earnestness, and if we may so say, the passion of hypocrisy, marked in every line, receive their last finishing in that inconceivable burst of pretended indignation at Othello's-doubts of his sincerity.
"O grace! O Heaven forgive me!
Are you a man? Have you a soul or sense?
God be wi' you; take mine office. O wretched fool,
That lov'st to make thine honesty a vice!
Oh monstrous world! Take note, take note, O world!
To be direct and honest, is not safe.
I thank you for this profit, and from hence
I'll love no friend, since love breeds such offence."
If Iago is detestable enough when he has business on his hands and all his engines at work, he is still worse when he has nothing to do and we only see into the hollowness of his heart. His indifference when Othello falls into a swoon, is perfectly dia-bolical.
"Iago. How is it. General? Have you not hurt your head?
Othello. Do'st thou mock me?
Iago. I mock you not, by Heaven," etc.
The part indeed would hardly be tolerated, even as a foil to the virtue and generosity of the other characters in the play, but for its indefatigable industry and inexhaustible resources, which divert the attention of the spectator (as well as his own) from the end he has in view to the means by which it must be accomplished.Edmund the Bastard in Lear is something of the' same character, placed in less prominent circumstances. Zanga is a vulgar caricature of it.
Use this page to find resources to support your study of Shakepeare's play Othello
The BBC Bitesize page is a useful link (but it is designed for GCSE). Use the Higher exemplars below to see typical examples for the Higher paper.
The play opens with Roderigo, a rich gentleman, arguing with Iago, a soldier. Roderigo had been in love with Desdemona, the daughter of a senator, and asked her to marry him. However, he has just found out that she has secretly married Othello, a black army general. Iago is also angry - he serves Othello but has not been promoted by him. Instead, Othello promoted Cassio, a young soldier with no experience. Iago tells Roderigo to wake Desdemona's father, Brabantio, and they shout in the street, telling him about the secret marriage. Iago stays in the background, shouting insults but not saying who he is.
Iago says he is angry because of Cassio but he also suspects an affair between Othello and his wife. However, Iago hides his anger and pretends to be loyal and serve Othello, although we soon see that he is lying to him.
We learn that a Turkish fleet will attack Cyprus and Othello is sent to advise the senate. Brabantio arrives and accuses Othello of using witchcraft to seduce his daughter. However, Othello defends himself and is put in command of the army. He then leaves to sail to Cyprus and there is a terrible storm.
The storm destroys the Turkish boats and Othello arrives on Cyprus safely. He joins his wife, Desdemona, Iago, Iago's wife Emilia, Roderigo, Cassio and the rest of his soldiers. Iago starts trying to make Othello jealous of his wife and, as part of the plan, gets Cassio drunk. Othello learns of this and sacks Cassio, saying he'll 'never more' be an officer. Iago then persuades Cassio to speak to Desdemona so that she can convince her husband to reinstate Cassio. At the same time, Iago suggests to Othello that Cassio and Desdemona might be having an affair.
Desdemona loses her handkerchief, which was a present from Othello. Emilia gives it to her husband, Iago, and he plants it as evidence of an affair. Iago also asks Othello to hide and then gets Cassio to talk about love - Cassio is talking about another woman but Othello thinks he's talking about Othello's wife, Desdemona. Othello is so angry he decides to kill his wife and tells Iago to kill Cassio.
However, Iago continues to plot against Othello. He convinces Roderigo, who is still in love with Desdemona, to kill Cassio. Iago hides and watches the attack, then wounds Cassio. Iago then pretends to help Roderigo but secretly kills him and then blames someone else.
Othello talks to Desdemona and then attacks and kills her. However, Emilia, Iago's wife, realises Desdemona is innocent and that her husband is guilty. She starts to tell the guards what has happened but Iago kills her. Othello then attacks Iago but the fight is stopped. Othello is so full of grief that he commits suicide and falls on the bed next to the body of his wife. The play ends with the arrest of Iago and Cassio is left to decide Iago's punishment.
Themes in “Othello”
Perhaps the most obvious subject or theme in Othello is revenge and jealousy. Iago is the key to almost everything that happens. He has been passed over for promotion, so he dislikes Othello and must be jealous of Cassio. He thinks Othello might also have slept with his wife. However, we can never be completely sure what motivates Iago to be so destructive - he manages to get Cassio dismissed but then Iago doesn't seem interested in Cassio's job, only in causing more problems. We also learn that Iago has tried many times in the past to steal the handkerchief that means so much to Othello. This tells us that he was planning against Othello long before his promotion was blocked.
Reality and appearance
The contrast between what is reality and the appearance of something is also used by Shakespeare. There are many references to it, with Iago saying that 'Men should be what they seem' (and Iago is clearly not what he seems), to Othello asking for 'ocular proof' or proof that he can see. Of course, what Othello actually sees isn't what he thinks it is. So when he sees and hears Cassio talking about Desdemona, Cassio is actually talking about another woman.
Othello also believes the story about Cassio wiping his beard on the valuable handkerchief. The only 'proof' is Iago's word, which is a lie. Othello is fooled in other ways too - he hears a scream and then assumes Cassio is dead, but he is only injured. However, the most important difference between reality and appearance is that Othello continues to think that Iago is of 'exceeding honesty', but everyone in the audience knows this isn't the case.
Another major theme is race, and the idea that our ethnic origin affects our behaviour and personality. This belief was very strong in Shakespeare's time and many of his audience would feel a mixed marriage was wrong. They would also be familiar with the racist language used to insult Othello and see nothing wrong with it. However, we shouldn't reject Shakespeare for this - he is reflecting his audience and the time he wrote the play, but he also manages to challenge these racist ideas. His audience would almost inevitably expect the villain to be black and the hero white, but it's the opposite. Secondly the love between Desdemona and Othello is clearly real - they may be from different cultures but it is Iago who forces them apart, not their different ethnic origins.
There may be other topics you can spot, such as the subject of magic - Desdemona's father accuses Othello of using it to seduce his daughter, saying that she wouldn't be in love without 'witchcraft'. Even the handkerchief Othello gave Desdemona has 'magic in the web' of it, and losing it can lead to damnation.
Conflict and “Othello”
From the opening scene of the play, Othello and Iago are in conflict. Othello is not even on stage as the play opens but the audience can see that there is disagreement between these two from the words spoken by Iago. The audience can see the reasons for this conflict: Othello did not pick Iago to be his lieutenant and Roderigo is annoyed that Iago did not know about the fact that Desdemona and Othello got married.
This conflict is troubling for the audience as throughout the play it seems that these two men had been great friends and respected in the military. They worked closely together and had a strong relationship. All this changes and conflict between these two men ensues. Iago cannot trust Othello because he disregarded the rules of the military by promoting Cassio over Iago. If Othello cannot be trusted in this situation, then he cannot be trusted in any situation.
Iago takes it upon himself to ruin Othello and point out his flaw: jealousy. He uses this against Othello and it leads to Othello eventually killing Desdemonia and himself.
"O, sir, content you. / I follow him to serve my
turn upon him”- Iago
“I hate the Moor”- Iago
“Villain, be sure thou prove my love a whore;
Be sure of it; give me the ocular proof.”- Othello
“O, beware, my lord, of jealousy!”- Iago
“Is’t lost? Is’t gone? Speak, is it out o’ the way?”- Othello
"Men should be what they seem; / Or those that be not, would they
might seem none! " - Iago
“I am not sorry neither. I'd have thee live,
For in my sense 'tis happiness to die.” -Othello
”I kissed thee ere I killed thee. No way but this,
Killing myself, to die upon a kiss.” -Othello
Central concern of the text
Jealousy: this is Othello’s tragic flaw and can be blamed for his downfall as well as the death of Desdemona. This play warns the audience of what will happen if we allow jealousy to control our thoughts and actions.