Prelim

Question 1

Anagnorisis

Answer 1

5.2 Othello “Demand that demi-devil why he hath thus ensnared my soul and body”- Othello realises that he ahs been deceived by Iago, and that Desdemona was faithful to him

Question 2

Isolation

Answer 2

As a North African man in Venice, Othello is isolated from the start. This is only further enhanced by Iago, who keeps Othello on the outside of knowledge

Question 3

Catastrophe, calamity

Answer 3

5.2 Lodovico (to Iago) “Look on the tragic loading of this bed”- the aftermath of a true tragedy. The bed-curtains are drawn over the death bed which was fitted with their wedding sheets, now acting as a shroud

Question 4

Changes of fortune

Answer 4

Othello goes from being a well-respected, noble man who fetches his “life and being from men of royal siege” to have “fallen in the practice of a damned slave” by 5.2.

Question 5

Tragic hero

Answer 5

Fallen from a position of nobility and respect with a “soft phrase of peace” to a man who a man who fulfils his racial stereotypes of anger, violence and extreme passion as a result of the manipulation of his insecurities

Question 6

Tragic victims

Answer 6

Desdemona as a tragic victim enhances her chastity, vulnerability and innocence as an “angel”, while tarnishing Othello as “the blacker devil”. Emilia could also be seen as a tragic victim of the manipulation of women by men into being suppressed and silenced

Question 7

Fate

Answer 7

In 3.3, the fate of Desdemona and Cassio was sealed through Othello’s fragmented broken speech as he loses control, saying “death and damnation”, and uses violent, animalistic language of how he’ll “tear her all to pieces”

Question 8

Learning and moral growth

Answer 8

While Othello and Iago do not experience any moral learning or growth, it could be said that Emilia does, as she comes to terms with the inequality between men and women. She goes from having “no speech” in 2.1 to she “will not chide [her] tongue” in 5.2

Question 9

Sadness, misery

Answer 9

The “tragic loading” of the bed is full of sadness and misery, and encapsulates the sorrow of the play as a whole

Question 10

Hostility of nature

Answer 10

In 2.1, there “is a high-wrought flood” which drowns the Turkish fleet, transforming the tragedy from a public, military tragedy to a smaller, domestic tragedy of what happens to soldiers when they have no war to fight.

Question 11

Overarching solemn and serious tone and language

Answer 11

Othello’s language goes from being lyrical in his harmonic relationship with Desdemona, until Iago decides to create discord in their “well-tuned” marriage, “setting down the pegs that make this music as honest as I am”. He makes their heartstrings out of tune

Question 12

Arousal of fear

Answer 12

At the end pf 3.3, the audience begin to fear for Desdemona when her fate is sealed by Iago and Othello. We know that she has been fully faithful, but Othello now only sees her as a “lewd minx”, a worthless temptress who ought to be damned.

Question 13

Arousal of pity

Answer 13

Pity is evoked as a progression from the arousal of fear, as we are certain that Desdemona is going to be murdered, but there is nothing that we can do to prevent it- all we can do is feel sorry for her

Question 14

Power

Answer 14

The extreme power and control that Iago has over Othello is disconcerting, as it gives him the perfect platform to orchestrate Othello’s downfall by playing on his insecuritiesIago also has power over Emilia, who is continuously silenced and suppressed by him

Question 15

Tragic settings

Answer 15

The move to Cyprus as a whole as an outpost of civilisation sets up the tragic setting.Specifically, the tragic setting of the bed, prepared with the wedding sheets, becomes the “tragic” deathbed, and the wedding sheets become a shroud

Question 16

Tragic magnificence

Answer 16

The tragic magnificence of the play is emphasised through Othello’s fall from grace. He falls from his elevated status of a military officer to a “devil”, showing the capability of manipulation and deception

Question 17

Treatment of women

Answer 17

Throughout the play, Emilia is continuously silenced by Iago, however, we know that in reality, she has some strong opinions on men, saying how “it is their husband’s fault if wives do fall”, as they would not commit infidelity if their husbands were better to them. She speaks out in 5.2, saying “I will speak as liberal as the north”Desdemona is well-respected, and becomes the “general’s general”, however, she is still supressed by Othello, as he refuses to believe herBianca is ignored by Cassio, as he uses her when he pleases, but gives very little back to her.

Question 18

Misjudgements

Answer 18

The whole play is based on misjudgements, as Othello misjudges “honest Iago” and his honesty, Desdemona’s fidelity and his own downfall

Question 19

Tragic endings

Answer 19

The “tragic loading” of the bed

Question 20

Tragic villains

Answer 20

Iago is an antagonist who seeks revenge on Othello for not promoting Iago- his villainy is fiendish and inexplicable, proved at the end in 5.2 when he “will not speak word”

Question 21

Tragic flaws

Answer 21

Othello’s excessive pride, jealousy and gullibility may be some of his tragic traits, but his main tragic flaw was his insecurity and lack of personal confidence (due to age, race…), which enabled Iago to manipulate him

Question 22

Tragic fall

Answer 22

Othello falls from “men of royal siege” to a “blacker devil”

Question 23

Emptiness

Answer 23

Iago’s motives could be said to be empty, with no true, rational reason for bringing about Othello’s downfall

Question 24

Death

Answer 24

The “tragic loading” of the deathbed in 5.2

Question 25

Pride

Answer 25

Othello’s hubris eventually leads to his downfall, as he is too proud to ask Desdemona if she has been unfaithful, as he does not want to be cuckolded and have his manhood, honour and reputation ruined as a result

Question 26

Loss

Answer 26

The loss of trust in Desdemona initiated Othello’s downfall, as he began to believe that she was unfaithful, and that he would lose everything as a result

Question 27

Pessimism

Answer 27

rather than directly asking Desdemona about a relationship with Cassio, Othello’s pride resulted in him thinking the worst of Desdemona- she was always guilty to him, even though he had no proof

Question 28

The Gods

Answer 28

Othello believes that he is almost a God, and more than a man. Therefore, he deserves to be worshipped by Desdemona, not cuckolded

Question 29

Catharsis

Answer 29

By 5.2, the audience and the characters experience a purging of suppressed emotions, as the truth that we have known all along comes out, but it is too late

Question 30

Magnitude

Answer 30

The magnitude of the calamity is shown through the immense final scene, where the characters are either killed or realise that they have wrongly killed

Question 31

Positives emerging

Answer 31

There seems to be some order at the end of 5.2, as Cassio is reappointed to rule in Cyprusand Lodovico and Gratiano seem to be representative of control and civilisation in Cyprus

Question 32

Blindness

Answer 32

Othello is blind to the truth throughout the whole play, as he believes what he wants to believe and ignores the facts. To him, the handkerchief is no longer a symbol of love, but of infidelity, even though he has no solid proof that Desdemona has ever been unfaithful to him

Question 33

Suffering

Answer 33

The play is full of suffering, as every character (except perhaps Iago) suffers in some way. Desdemona is innocently killed, Othello is wrongly manipulated, Emilia is silenced, Cassio is accused, Roderigo is killed and Bianca is used