Literature | High school » Othello Character List

OTHELLO Character List http://www.sparknotescom/shakespeare/othello/canalysishtml Othello - The play’s protagonist and hero. A Christian Moor and general of the armies of Venice, Othello is an eloquent and physically powerful figure, respected by all those around him. In spite of his elevated status, he is nevertheless easy prey to insecurities because of his age, his life as a soldier, and his race. He possesses a “free and open nature,” which his ensign Iago uses to twist his love for his wife, Desdemona, into a powerful and destructive jealousy (I.iii381) Desdemona - The daughter of the Venetian senator Brabanzio. Desdemona and Othello are secretly married before the play begins. While in many ways stereotypically pure and meek, Desdemona is also determined and self-possessed. She is equally capable of defending her marriage, jesting bawdily with Iago, and responding with dignity to Othello’s incomprehensible jealousy. Iago - Othello’s ensign (a job also known as an

ancient or standard-bearer), and the villain of the play. Iago is twenty-eight years old. While his ostensible reason for desiring Othello’s demise is that he has been passed over for promotion to lieutenant, Iago’s motivations are never very clearly expressed and seem to originate in an obsessive, almost aesthetic delight in manipulation and destruction. Michael Cassio - Othello’s lieutenant. Cassio is a young and inexperienced soldier, whose high position is much resented by Iago. Truly devoted to Othello, Cassio is extremely ashamed after being implicated in a drunken brawl on Cyprus and losing his place as lieutenant. Iago uses Cassio’s youth, good looks, and friendship with Desdemona to play on Othello’s insecurities about Desdemona’s fidelity. Emilia - Iago’s wife and Desdemona’s attendant. A cynical, worldly woman, she is deeply attached to her mistress and distrustful of her husband. Roderigo - A jealous suitor of Desdemona. Young, rich, and foolish, Roderigo is

convinced that if he gives Iago all of his money, Iago will help him win Desdemona’s hand. Repeatedly frustrated as Othello marries Desdemona and then takes her to Cyprus, Roderigo is ultimately desperate enough to agree to help Iago kill Cassio after Iago points out that Cassio is another potential rival for Desdemona. Bianca - A courtesan, or prostitute, in Cyprus. Bianca’s favorite customer is Cassio, who teases her with promises of marriage. Brabanzio - Desdemona’s father, a somewhat blustering and self-important Venetian senator. As a friend of Othello, Brabanzio feels betrayed when the general marries his daughter in secret. Duke of Venice - The official authority in Venice, the duke has great respect for Othello as a public and military servant. His primary role within the play is to reconcile Othello and Brabanzio in Act I, scene iii, and then to send Othello to Cyprus. Montano - The governor of Cyprus before Othello. We see him first in Act II, as he recounts the status

of the war and awaits the Venetian ships. Lodovico - One of Brabanzio’s kinsmen, Lodovico acts as a messenger from Venice to Cyprus. He arrives in Cyprus in Act IV with letters announcing that Othello has been replaced by Cassio as governor. Graziano - Brabanzio’s kinsman who accompanies Lodovico to Cyprus. Amidst the chaos of the final scene, Graziano mentions that Desdemona’s father has died. Clown - Othello’s servant. Although the clown appears only in two short scenes, his appearances reflect and distort the action and words of the main plots: his puns on the word “lie” in Act III, scene iv, for example, anticipate Othello’s confusion of two meanings of that word in Act IV, scene i. Othello Study Sheet by Dr. Siegel edited and improved by Mr. Donn You should use this study guide as you read the text of “Othello” by William Shakespeare. Some Drama Terms You Must Know: Antagonist A character or force against which another character struggles. Creon is

Antigones antagonist in Sophocles play Antigone; Teiresias is the antagonist of Oedipus in Sophocles Oedipus the King. Aside Words spoken by an actor directly to the audience, which are not "heard" by the other characters on stage during a play. In Shakespeares Othello, Iago voices his inner thoughts a number of times as "asides" for the plays audience. Catastrophe The action at the end of a tragedy that initiates the denouement or falling action of a play. One example is the dueling scene in Act V of Hamlet in which Hamlet dies, along with Laertes, King Claudius, and Queen Gertrude. Catharsis The purging of the feelings of pity and fear that, according to Aristotle, occur in the audience of tragic drama. The audience experiences catharsis at the end of the play, following the catastrophe. Character An imaginary person that inhabits a literary work. Literary characters may be major or minor, static (unchanging) or dynamic (capable of change). In Shakespeares

Othello, Desdemona is a major character, but one who is static, like the minor character Bianca. Othello is a major character who is dynamic, exhibiting an ability to change. Characterization The means by which writers present and reveal character. Although techniques of characterization are complex, writers typically reveal characters through their speech, dress, manner, and actions. Readers come to understand the character Miss Emily in Faulkners story "A Rose for Emily" through what she says, how she lives, and what she does. Chorus A group of characters in Greek tragedy (and in later forms of drama), who comment on the action of a play without participation in it. Their leader is the choragos Sophocles Antigone and Oedipus the King both contain an explicit chorus with a choragos. Tennessee Williamss Glass Menagerie contains a character who functions like a chorus. Climax The turning point of the action in the plot of a play or story. The climax represents the point of

greatest tension in the work. The climax of John Updikes "A & P," for example, occurs when Sammy quits his job as a cashier. Comedy A type of drama in which the characters experience reversals of fortune, usually for the better. In comedy, things work out happily in the end Comic drama may be either romantic--characterized by a tone of tolerance and geniality--or satiric. Satiric works offer a darker vision of human nature, one that ridicules human folly. Shaws Arms and the Man is a romantic comedy; Chekhovs Marriage Proposal is a satiric comedy. Comic relief The use of a comic scene to interrupt a succession of intensely tragic dramatic moments. The comedy of scenes offering comic relief typically parallels the tragic action that the scenes interrupt. Comic relief is lacking in Greek tragedy, but occurs regularly in Shakespeares tragedies. One example is the opening scene of Act V of Hamlet, in which a gravedigger banters with Hamlet. Complication An intensification of

the conflict in a story or play. Complication builds up, accumulates, and develops the primary or central conflict in a literary work. Frank OConnors story "Guests of the Nation" provides a striking example, as does Ralph Ellisons "Battle Royal." Conflict A struggle between opposing forces in a story or play, usually resolved by the end of the work. The conflict may occur within a character as well as between characters Lady Gregorys one-act play The Rising of the Moon exemplifies both types of conflict as the Policeman wrestles with his conscience in an inner conflict and confronts an antagonist in the person of the ballad singer. Connotation The associations called up by a word that goes beyond its dictionary meaning. Poets, especially, tend to use words rich in connotation. Dylan Thomass "Do Not Go Gentle into That Good Night" includes intensely connotative language, as in these lines: "Good men, the last wave by, crying how bright / Their frail

deeds might have danced in a green bay, / Rage, rage against the dying of the light." Convention A customary feature of a literary work, such as the use of a chorus in Greek tragedy, the inclusion of an explicit moral in a fable, or the use of a particular rhyme scheme in a villanelle. Literary conventions are defining features of particular literary genres, such as novel, short story, ballad, sonnet, and play. Denotation The dictionary meaning of a word. Writers typically play off a words denotative meaning against its connotations, or suggested and implied associational implications. In the following lines from Peter Meinkes "Advice to My Son" the references to flowers and fruit, bread and wine denote specific things, but also suggest something beyond the literal, dictionary meanings of the words: To be specific, between the peony and rose Plant squash and spinach, turnips and tomatoes; Beauty is nectar and nectar, in a desert, saves-. and always serve bread with

your wine. But, son, always serve wine. Denouement The resolution of the plot of a literary work. The denouement of Hamlet takes place after the catastrophe, with the stage littered with corpses. During the denouement Fortinbras makes an entrance and a speech, and Horatio speaks his sweet lines in praise of Hamlet. Deus ex machina A god who resolves the entanglements of a play by supernatural intervention. The Latin phrase means, literally, "a god from the machine." The phrase refers to the use of artificial means to resolve the plot of a play. Dialogue The conversation of characters in a literary work. In fiction, dialogue is typically enclosed within quotation marks. In plays, characters speech is preceded by their names Diction The selection of words in a literary work. A works diction forms one of its centrally important literary elements, as writers use words to convey action, reveal character, imply attitudes, identify themes, and suggest values. We can speak of the

diction particular to a character, as in Iagos and Desdemonas very different ways of speaking in Othello. We can also refer to a poets diction as represented over the body of his or her work, as in Donnes or Hughess diction. Dramatic monologue A type of poem in which a speaker addresses a silent listener. As readers, we overhear the speaker in a dramatic monologue. Robert Brownings "My Last Duchess" represents the epitome of the genre. Dramatis personae Latin for the characters or persons in a play. Included among the dramatis personae of Millers Death of a Salesman are Willy Loman, the salesman, his wife Linda, and his sons Biff and Happy. Exposition The first stage of a fictional or dramatic plot, in which necessary background information is provided. Ibsens A Dolls House, for instance, begins with a conversation between the two central characters, a dialogue that fills the audience in on events that occurred before the action of the play begins, but which are important

in the development of its plot. Falling action In the plot of a story or play, the action following the climax of the work that moves it towards its denouement or resolution. The falling action of Othello begins after Othello realizes that Iago is responsible for plotting against him by spurring him on to murder his wife, Desdemona. Foil A character who contrasts and parallels the main character in a play or story. Laertes, in Hamlet, is a foil for the main character; in Othello, Emilia and Bianca are foils for Desdemona. Fourth wall The imaginary wall of the box theater setting, supposedly removed to allow the audience to see the action. The fourth wall is especially common in modern and contemporary plays such as Hansberrys A Raisin in the Sun, Wassersteins Tender Offer, and Wilsons Fences. Gesture The physical movement of a character during a play. Gesture is used to reveal character, and may include facial expressions as well as movements of other parts of an actors body. Sometimes

a playwright will be very explicit about both bodily and facial gestures, providing detailed instructions in the plays stage directions. Shaws Arms and the Man includes such stage directions. See Stage direction Iamb An unstressed syllable followed by a stressed one, as in to-DAY. See Foot Irony A contrast or discrepancy between what is said and what is meant or between what happens and what is expected to happen in life and in literature. In verbal irony, characters say the opposite of what they mean. In irony of circumstance or situation, the opposite of what is expected occurs. In dramatic irony, a character speaks in ignorance of a situation or event known to the audience or to the other characters. Flannery OConnors short stories employ all these forms of irony, as does Poes "Cask of Amontillado." Monologue A speech by a single character without another characters response. See Dramatic monologue and Soliloquy. Parody A humorous, mocking imitation of a literary work,

sometimes sarcastic, but often playful and even respectful in its playful imitation. Examples include Bob McKentys parody of Frosts "Dust of Snow" and Kenneth Kochs parody of Williamss "This is Just to Say." Pathos A quality of a plays action that stimulates the audience to feel pity for a character. Pathos is always an aspect of tragedy, and may be present in comedy as well. Props Articles or objects that appear on stage during a play. The Christmas tree in A Dolls House and Lauras collection of glass animals in The Glass Menagerie are examples. Quatrain A four-line stanza in a poem, the first four lines and the second four lines in a Petrachan sonnet. A Shakespearean sonnet contains three quatrains followed by a couplet Recognition The point at which a character understands his or her situation as it really is. Sophocles Oedipus comes to this point near the end of Oedipus the King; Othello comes to a similar understanding of his situation in Act V of Othello.

Resolution The sorting out or unraveling of a plot at the end of a play, novel, or story. See Plot Reversal The point at which the action of the plot turns in an unexpected direction for the protagonist. Oedipuss and Othellos recognitions are also reversals They learn what they did not expect to learn. See Recognition and also Irony Rising action A set of conflicts and crises that constitute the part of a plays or storys plot leading up to the climax. See Climax, Denouement, and Plot Satire A literary work that criticizes human misconduct and ridicules vices, stupidities, and follies. Swifts Gullivers Travels is a famous example Chekhovs Marriage Proposal and OConnors "Everything That Rises Must Converge," have strong satirical elements. Setting The time and place of a literary work that establish its context. The stories of Sandra Cisneros are set in the American southwest in the mid to late 20th century, those of James Joyce in Dublin, Ireland in the early 20th century.

Soliloquy A speech in a play that is meant to be heard by the audience but not by other characters on the stage. If there are no other characters present, the soliloquy represents the character thinking aloud. Hamlets "To be or not to be" speech is an example See Aside Stage direction A playwrights descriptive or interpretive comments that provide readers (and actors) with information about the dialogue, setting, and action of a play. Modern playwrights, including Ibsen, Shaw, Miller, and Williams tend to include substantial stage directions, while earlier playwrights typically used them more sparsely, implicitly, or not at all. See Gesture. Staging The spectacle a play presents in performance, including the position of actors on stage, the scenic background, the props and costumes, and the lighting and sound effects. Tennessee Williams describes these in his detailed stage directions for The Glass Menagerie and also in his production notes for the play. Subplot A subsidiary

or subordinate or parallel plot in a play or story that coexists with the main plot. The story of Rosencrantz and Guildenstern forms a subplot with the overall plot of Hamlet. Tragedy A type of drama in which the characters experience reversals of fortune, usually for the worse. In tragedy, catastrophe and suffering await many of the characters, especially the hero. Examples include Shakespeares Othello and Hamlet; Sophocles Antigone and Oedipus the King, and Arthur Millers Death of a Salesman. See Tragic flaw and Tragic hero. Tragic flaw A weakness or limitation of character, resulting in the fall of the tragic hero. Othellos jealousy and too trusting nature is one example. See Tragedy and Tragic hero Tragic hero A privileged, exalted character of high repute, who, by virtue of a tragic flaw and fate, suffers a fall from glory into suffering. Sophocles Oedipus is an example See Tragedy and Tragic flaw. Understatement A figure of speech in which a writer or speaker says less than what

he or she means; the opposite of exaggeration. The last line of Frosts "Birches" illustrates this literary device: "One could do worse than be a swinger of birches." Unities The idea that a play should be limited to a specific time, place, and story line. The events of the plot should occur within a twenty-four hour period, should occur within a give geographic locale, and should tell a single story. Aristotle argued that Sophocles Oedipus the King was the perfect play for embodying the unities. ACT ONE: Just When You Thought It Was Safe to Go Back Into the Water. Act I occurs on the streets and in the buildings of Venice, Italy. You can see from the picture Venice’s canals and waterways that Iago could use the landscape to his advantage as he sneaks around, spreading gossip, hiding, listening in, and appearing at just the right moments to further his scheme. In one of the world’s most romantic cities, there are plenty of places to hide. Act I scene

one (I.i): Conversation between Iago and Roderigo Iago reveals his grudge against Othello and convinces Roderigo to tell Brabantio that his daughter has eloped with the Moor. Iago acts irrationally on purposeperhaps to make Brabantio think he is drunk (he is a sailor or shore leave, and such behavior would be expected). Pg. 10: an old black ram is tupping your white ewe (Iago, I196) pg. 11: your daughter and the Moor are now making the beast with two backs (Iago, I.1128) (Iago, I196) Act One scene two (I.ii): After enraging Brabantio and telling him a twisted version of the truth (that Othello and Desdemona have eloped), Iago then doubles back warns Othello of Brabantio’s anger; Cassio arrives to tell Othello that a war council has been called; Brabantio then arrives ready to fight Othello. Othello swears his love for Desdemona is true.○ Pg. 16: Damned as thou art, thou hast enchanted her! (Brabantio, Iii77) (Brabantio, I.ii77) Act One scene three (I.iii): Othello is charged

with leading the Venetians to victory against the Turks. Othello and Desdemona publicly avow their love for each other Iago privately assures Roderigo that he will have his shot at Desdemona, proclaims his hate for Othello, and considers plans to make Othello jealous of Cassio. Pg. 27: Look to her, Moor, if thou hast eyes to see She has deceived her father and may thee. (Brabantio, Iiii317-318) Pg. 28: I hate the Moor; And it is thought abroad that ‘twist my sheets ‘Has done my office. (Iago, Iiii404-6) Pg. 29: I have’t! It is engendered! Hell and night Must bring this monstrous birth to the world’s light. (Iago, Iiii 421-2) ACT TWO: Into Hostile Water Act Two scene one (II.ii): All arrive safely on Cyprus and the war is over before it is begun. Iago convinces Roderigo that Desdemona, although just married to Othello, is attracted to Cassio. He outlines a plan to Roderigo that involves him picking a fight with Cassio in order to rid himself of this rival. Italy (Act Cyprus

While Shakespeare’s sense of geography probably wasn’t as accurate as it would be today, the point behind moving Act II to Cyprus is simple: they all move from the safety and lawfulness of Italy to the martial law and danger of a fortress located in the middle of the war (they are on “enemy turf,” geographically). This isolates the characters and heightens the threatlevel Pg. 37: With as little a web as this will I ensnare as great a fly as Cassio (Iago, IIi197) (Iago, II.i197) Pg. 41: For I do suspect the lusty Moor Hath leaped into my seat; the thought whereof Doth, like a poisonous mineral, gnaw my inwards; (Iago, II.i 323-325) Act Two scene two (II.ii): A party is announced to celebrate both the victory over the Turks and Othello and Desdemona’s nuptials (wedding). Pg. 41: Heaven bless the isle of Cyprus and our noble general Othello (Herald, II.ii10) (Herald, IIii10) Act Two scene three (II.iii) Iago gets Cassio, on watch, drunk and Roderigo picks his fight - the

governor of Cyprus, Montano, is wounded in the process. Othello fires Cassio Iago advises Cassio to seek Desdemona’s aid in persuading Othello to restore his commission. Iago will cause Othello to think that Desdemona has ulterior motives for wishing to help Cassio. Pg. 42: Iago is most honest (Othello, IIiii7) (Othello, IIiii7) Pg. 48: Are we turned Turks, and to ourselves do that Which heaven hath forbid the Ottomites? For Christian shame put by this barbarous brawl! (Othello, II.iii172-4) Pg. 49: I would rather have this tongue cut from my mouth Than it should do offense to Michael Cassio. (Iago, IIiii 225-6) ACT THREE: The Monstrous Birth Begins Desdemona’s handkerchief symbolizes many things. It is the symbol of Desdemona’s reputation (as well as Cassio’s as Iago will use it to “prove” she is a whore). Historically such handkerchiefs were embroidered with small red dots or fruits to help mask the flecks of blood produced by coughing up blood due to the incurable

scourge of the time, tuberculosis. Some critics even connect the symbolism of the red “rash”-like to being a grotesque reference to rampant sexually transmitted disease. Regardless, the handkerchief is the ultimate symbol for false evidence used in the play. Act Three scene one (III.i): Iago convinces Cassio to seek out Emilia’s help in getting a private audience with Desdemona, to urge her to speak to Othello on his behalf. Act Three scene two (III.ii): Othello goes on an errand of state business Act Three scene three (III.iii): Iago puts his plot in motion His insinuations about Desdemona’s unfaithfulness begin as he and Othello see Cassio and Desdemona talking together. He successfully raises doubts in Othello’s mind about his wife’s love and loyalty. Desdemona tries to comfort her obviously upset husband, but Othello throws her handkerchief to the ground. Emilia unwittingly plays into Iago’s plot and gives the handkerchief to him. Iago can then show it as proof of

Desdemona’s unfaithfulness when Othello later demands such proof. Iago is very convincing, styling himself as a true friend to Othello, and gives more "proof" of this completely fictitious affair. By the end of the scene, Othello is convinced of his wife’s infidelity and orders Iago to kill Cassio. Pg. 60: But I do love thee! and when I love thee not, Chaos is come again. (Othello, IIIiii103-4) Pg. 63: O, beware, my lord, of jealousy! It is the green-eyed monster, which doth mock The meat it feeds on. (Iago, IIIiii 191-3) Pg. 66; This fellow’s of exceeding honesty, And knows all qualities, with a learned spirit Of human dealings. (Othello, IIIiii293-5) Pg. 67: If she be false, O, then heaven mocks itself! I’ll not believe’t. (Othello, IIIiii313-314) Pg. 70: Villain, be sure thou prove my love a whore! Be sure of it; give me the ocular proof; (Othello, III.iii 405-406) Pg. 73: All my fond love thus do I blow to heaven ‘Tis gone. Arise, black vengeance, from the

hollow hell! (Othello, III.iii498-500) Act Three scene four: Desdemona innocently tries to speak to Othello on Cassio’s behalf, but Iago has done a thorough job on Othello. Othello is even more convinced that Desdemona is being deceitful when she is unable to produce the handkerchief. Iago’s "proof" appears true. Cassio innocently gives the handkerchief (which Iago planted in his room) to his girl friend Bianca. ACT FOUR: Hell Rising From the start, many characters refer to “Hell,” “monstrosity,” “blackness,” and jealousy being the “green-eyed monster” that leads Othello to believe his wife and Cassio have made “the beast with two backs.” As the “monster” Iago plants in Othello’s ear continues to grow, Iago’s plan proves itself to be just what he calls it: a “monstrous birth.” Another link to the idea of sexual monstrosity was the popular idea that a man whose wife cheats on him is made into a “cuckhold”he grows small, ridiculous

goat’s horns that identify him as inadequate as a man and as a husband. The idea of monstrosity in Shakespeare’s day was linked to things unnatural, things seen that should not be seenand outward signs of inner sickness such as disease, deformity, andunfortunatelyjudgments based on outer appearance (such as black skin signifying a cursed race, or a wart signifying a witch’s allegiance to the devil). Othello’s union to Desdemona (a black man coupling with a white woman) would have been scandaloushorrid to some, evenbut Shakespeare writes the play in a very liberal Venicethe Renaissance and embracing of new ideas started in Italy after all and took 300 years to work its way to England and later the Americas. Act Four scene one (IV.i): Iago drives Othello to the brink of insanity with jealousy he falls into a trance Iago has Othello hide, and he engages Cassio in a discussion of Bianca’s love for him - Othello, of course, is made to think they are speaking of Desdemona. Othello

strikes Desdemona in front of Ludovico, a visiting dignitary from Venice. Iago does his best to insinuate that Othello is no longer worthy of command Act Four scene two (IV.ii): Othello questions Emilia, and she assures him that Desdemona has never been alone with Cassio. Othello calls Desdemona a whore to her face, and leaves her in confusion. Emilia suggests that some plotter has been abusing Desdemona to Othello for some unknown reason; Iago denies this as a possibility and assures Desdemona that Othello is just overworked. Then Roderigo accuses Iago of keeping all the gifts he has sent via Iago to Desdemona. Iago tells him that the only way to keep Desdemona here is to kill Cassio, for then the Venetians will not have Othello go home. Pg.97L Heaven truly knows that thou art false as hell (Othello, IVii47) (Othello, IV.ii47) Pg. 101: The Moor’s abused by some most villainous knave, Some base notorious knave, some scurvy fellow. (Emilia, IVii 162-3) Act Four scene three

(IV.iii): Desdemona sings the Willow song, a song of lost love, and she and Emilia speak on the topic of women being unfaithful. Desdemona reveals a sweet naiveté about the world, while Emilia is more cynical, charging that women have no less a right to be unfaithful than men. ACT FIVE: Climax Act Five, scene one (V.i): Iago convinces Roderigo to kill Cassio Cassio must die because he can prove that Iago is behind all this; Roderigo must die because Iago has robbed him blind. The wounded Cassio cries out and Othello assumes that Iago has fulfilled his promise to kill him. Iago himself kills Roderigo and then a crowd gathers, including Bianca. Iago suggests that she participated somehow in these events, leading the investigators even further from the truth. Pg. 116: This is the night That either makes me or fordoes me quite. (Iago, Vi151) Othello approaches Desdemona in bed and almost changes his mind about her infidelity. But he smothers her as an act of honor Emilia enters and raises

a cry, berating Othello for murdering an innocent creature. When Iago and others enter, Othello reveals the "truth" as told to him by Iago. Emilia contradicts him and Iago stabs his own wife fatally. Othello now knows the truth and tries to kill Iago but is restrained. Othello stabs himself instead and Iago is led away in chains Pg. 131: Then must you speak Of one that loved not wisely, but too well; (Othello, V.ii397-8)