Themes

Themes are the fundamental and often universal ideas explored in a literary work.
Appearance and Reality
Appearance and reality are important aspects in Othello. For Othello, seeing is believing, and
proof of the truth is visual. To "prove" something is to investigate it to the point where its true
nature is revealed. Othello demands of Iago "Villain, be sure thou prove my love a whore, be
sure of it, give me the ocular proof" (Act 3, Scene 3).
What Iago gives him instead is imaginary pictures of Cassio and Desdemona to feed his
jealousy. As Othello loses control of his mind, these pictures dominate his thoughts. He looks
at Desdemona's whiteness and is swept up in the traditional symbolism of white for purity and
black for evil. Whenever he is in doubt, that symbolism returns to haunt him and despite his
experience, he cannot help but believe it.
Jealousy
Jealousy is a major theme in Othello and it is what drives Othello to commit his heinous deed
of killing Desdemona. Othello claims to be a man who "loved not wisely, but too well;of one not
easily jealous..."(V.ii.347).
Whilst it is true that his misplaced trust in "honest" Iago and the "ocular proof" of Desdemona's
infidelity drive this play to its tragic end, initially Othello does not show any signs of jealousy
and is fully aware of Desdemona's friendship with Cassio which, until Iago starts his
manipulative scheming, is not a concern for Othello because he knows that Desdemona "had
eyes and chose me" (III.iii.189). Iago is all too aware of Othello's " constant, loving, noble
nature which he will use against him to incite his jealousy.
Honor and reputation are equally important to Othello and once his jealousy is aroused and he
has the proof he needs - "I saw the handkerchief" (V.ii.66)- he must save Desdemona's own
reputation "She turn'd to folly, and she was a whore" (V.ii.133) as well as his own because "
nought I did in hate, but all in honor."(V.ii.298)
Othello's jealousy is therefore a result of circumstances and manipulation. Iago is such a
strong personality and has everyone fooled - for most of the play- and his own jealousy
appears to be the motivation for his destruction of Othello - and everyone else along the way "I
do suspect the lusty Moor." Othello gives him no cause to suspect him but Iago will get his
revenge " wife for wife"
(II.i.303).

Jealousy is what appears to destroy Othello. It is the emotion suggested to him by Iago in Act
3, Scene 3. Iago thinks he knows jealousy, having rehearsed it in his relationship with Emilia to
the extent that Emilia believes jealousy is part of the personality of men, but Iago's jealously is
a poor, weak thought compared to the storm of jealousy he stirs up in Othello.
Iago has noticed Othello's tendency to insecurity and overreaction, but not even Iago imagined
Othello would go as far into jealousy as he did. Jealousy forces Othello's mind so tightly on
one idea, the idea that Desdemona has betrayed him with Cassio, that no other assurance or
explanation can penetrate. Such an obsession eclipses Othello's reason, his common sense,
and his respect for justice.
Up to the moment he kills Desdemona, Othello's growing jealousy maddens him past the recall
of reason. Upon seeing that she was innocent and that he killed her unjustly, Othello recovers.
He can again see his life in proportion and grieve at the terrible thing he has done. Once
again, he speaks with calm rationality, judging and condemning and finally executing himself.
These thoughts, inflamed by Iago's hints and lies, prevent Othello from discussing his
concerns and fears directly with Desdemona, and so he acts on panicked assumption. In order
to survive the combined onslaught of internalized prejudice and the directed venom of Iago,
Othello would have had to be near perfect in strength and self-knowledge, and that is not fair
demand for anyone.
Symbols

Symbols are objects, characters, figures, and colors used to represent abstract ideas or
concepts.
The Handkerchief

The handkerchief symbolizes different things to different characters. Since the handkerchief
was the first gift Desdemona received from Othello, she keeps it about her constantly as a
symbol of Othellos love. Iago manipulates the handkerchief so that Othello comes to see it as
a symbol of Desdemona herselfher faith and chastity. By taking possession of it, he is able
to convert it into evidence of her infidelity. But the handkerchiefs importance to Iago and
Desdemona derives from its importance to Othello himself. He tells Desdemona that it was
woven by a 20 0 -year-old sibyl, or female prophet, using silk from sacred worms and dye
extracted from the hearts of mummified virgins.

Othello claims that his mother used it to keep his father faithful to her, so, to him, the
handkerchief represents marital fidelity. The pattern of strawberries (dyed with virgins blood)
on a white background strongly suggests the bloodstains left on the sheets on a virgins
wedding night, so the handkerchief implicitly suggests a guarantee of virginity as well as
fidelity.
The most dominant symbol in the play is the handkerchief that circulates throughout the
play. Because Othello gave it to Desdemona as a first gift, the handkerchief functions as a
token of his love, which Desdemona cherishes (3.3.1). This is why Iago convinces his wife
to steal it from Desdemona he knows that it has a lot of sentimental value and that Othello
will be angry when he finds out his wife no longer has it.

Iago also knows that, for Othello, the handkerchief symbolizes Desdemona's fidelity. When it
shows up in Cassio's possession, Othello is convinced that Desdemona is unfaithful.
The white napkin, as we know, is spotted with red strawberries and Othello tells Desdemona
that the strawberries were hand stitched with thread that has been dyed with blood from
"maidens' hearts" or, virgins' blood (3.4.10). In this way, the handkerchief resembles a white
wedding sheet that's also been stained with a virgin's blood. So, in Othello's mind, as long as
Desdemona has the handkerchief in her possession, she's chaste. But, the moment she "loses
it," she looses her chastity.
The handkerchief also seems to function as a symbol of Othello's mysterious past and his
"exoticness." He tells Desdemona that an Egyptian "charmer" gave it to his mother and that
it would keep his father "faithful" and under her spell (3.4.9). That such a small object has
such enormous weight in the play testifies to the sensitivity of jealous minds, and the way
that small incidents can be magnified psychologically into "proofs" of love or betrayal.

The significance of red is love, red strawberries like red hearts on the love token handkerchief,
and like the red stains from Othello and Desdemona's first night of love on the marriage
sheets. Such red on white is private and dear to the heart of Othello, and he expects it to be
similarly dear to his wife. It is the belief that Desdemona gave away his handkerchief, and the
sexually implications of the gift, that drives him to kill her
The Song Willow
As she prepares for bed in Act V, Desdemona sings a song about a woman who is betrayed by
her lover. She was taught the song by her mothers maid, Barbary, who suffered a misfortune
similar to that of the woman in the song;

she even died singing Willow. The songs lyrics suggest that both men and women are
unfaithful to one another. To Desdemona, the song seems to represent a melancholy and
resigned acceptance of her alienation from Othellos affections, and singing it leads her to
question Emilia about the nature and practice of infidelity.
As Desdemona is preparing for bed the night she will be murdered, she starts singing a song
about willow trees. This song, supposedly sung originally by one of Desdemona's mother's
servants who loved a crazy guy, reflects Desdemona's own situation.
She herself is worried that the man she married has gone crazy and will desert her. Willows at
the edge of water are a traditional symbol of women deserted by their lovers.

(In another Shakespearean example; Ophelia, deserted by her love, Hamlet, dies after she
falls out of a willow tree and drowns in the brook in the play Hamlet

Conclusions
The audience has wondrously liked the play of Shakespeare and comes into terms with the
concepts of different societies whether Venetian or Elizabethan. Shakespeares established
Othello as powerful narrative. Lagos character was the most wicked, evil and overpowering
as he succeeds in ruining the personality of Othello and leading him to kill his obedient wife
Desdemona. The entire play was highly captivating and engaging for the public and the
unexpected twist and turns made popular for all times to come.

The entertainment value of a dramatic work serves to distract from the seriousness of
the issues being explored. Examine the relevance of this statement to one
Shakespearean tragedy or romance.
William Shakespeares understanding and ability to portray the universal nature
of the human condition is to be commended on. One can read his work with a great
sense of understanding because we can relate to the situations depicted in his
literature. We often times witness issues of female inferiority, we witness acts of racism,
we witness betrayal in friendships, people with evil intentions, we witness jealousy and
of course we witness suiciders. Why? Because of our poor self perception as well as
our perception of the world at large. In the play Othello: the Moor of Venice, the
audience is presented with all these issues; although individuals experience catharsis
and find entertainment in the play, Shakespeare, was by no means distracting us from
the underlying seriousness being explored in the play. This prolific playwright utilizes
literary devices, themes, characterization, symbols and motifs as well as the settings
and features of a tragedy in a play to highlight issues in the play.
Shakespeare utilizes literary devices to reinforce his argument, develop themes
and characters as well as present valuable information to the audience, usually in a
dramatic and surprising way which keeps the audience in suspense. By using these
devices in his plays, he creates a memorable and well defined situations in which
nothing can be assumed, the audience, therefore has to wait until the end of the play to
confirm their suspicions. Some devices which Shakespeare uses includes: irony,
metaphor, alliteration, personification, imagery, foreshadowing and symbolism in
Othello.
Dramatic irony occurs when there is a discrepancy between what a character
believes and what the reader/viewer knows to be true, which plays an important role in
captivating the audience since the audience knows something that the characters
doesnt; they feel like they are a part of the play. Shakespeare shares details with the
audience of which the characters are unaware. The strongest piece of dramatic irony
which plays out throughout the play is the fact that the audience knows that Desdemona
is innocent and watches as Othello is manipulated by Iago and ultimately convinced that
he has "ocular proof" (III.iii.364) of her infidelity. Along with this, the audience also
knows Iago is really an evil person. The audience knows exactly how scheming and
self-serving the honest Iago is and is intrigued hoping that Othello sees through Iagos
carefully constructed plot to destroy him. This is depicted in Act 3, scene 3, line 135)
when Othello says " I think thou dost; and for I thou 'rt full of love and honesty. The
term "honest Iago" (I.iii.294) which is regularly repeated is symbolic and reveals the

contradiction and irony in Iago's representations of himself and adds to the dramatic
irony.
Verbal irony happens when a character says one thing and means another; uses
words to convey a meaning that is opposite of the literal meaning. Verbal irony is when
Iago tries to makes schemes it actually means something else; he always tries to come
up with excuses by making those schemes. That is verbal irony words are used to
suggest the opposite of what is meant (i.e. sarcasm, double-entendre, etc.) this can
sometimes be humorous because of how ironic it is. In the first acts of the play, verbal
irony is most prominent, especially by Iago who tells Roderigo that He is for him (Act
1. Scene 2, Ln 75), though really, he is only using him as part of his scheme. Later, Iago
tells Othello that he is a faithful servant (Act 2) when is definitely not a faithful servant
to Othello, seeing as Iago is trying to destroy his life. Othello often said things that were
actually opposite of lago O, thou art wise Tis certain (IV.187).. Honest Iago (IV. II.88)
(II.III.179) & (I.III.319), I know, Iago, Thy honesty and love doth mince this matter
(II.III.251-52). These lines are just a few of the ironic that Othello says to Iago. They
show the trust that Othello mistakenly puts in his best friend. Most things Iago says are
ironic and hes always lying. He says, My lord, you know I love you (III.III.136). This is
a blatant lie- Iago does and would do anything to make his lords life miserable. He
does not love Othello.
One prime example of verbal irony in Othello occurs when Iago and Cassio discuss the
issue of reputation. In Act 2, Scene 3, Cassio is upset that rumors have ruined his
reputation. To this, Iago responds: As I am an honest man, I had thought you had
receiv'd some bodily wound; there is more sense in that than in reputation. Reputation
is an idle and most false imposition; oft got without merit, and lost without deserving
(II.iii.266-270)
Situational Irony occurs when what happens is complete opposite of what is
expected. There are many examples of situational irony in the play. Cassio was the one
Iago wanted dead or out of his position. At the end of the play, Cassio was the only one
that did not die and he got promoted to a higher position. In the end Iago never
accomplishes what he started to do to get back at Othello and take Cassios place;
Cassio is the one Iago wants dead or fired, and at the end of the play, Cassio is the only
one in Iagos plot that is still alive, and he gets a promotion to general. Othello believes
that Desdemona gave the handkerchief to Cassio when he actually is the one who
pushes the handkerchief out of her hands as she is trying to soothe him. He is the one
truly responsible for the handkerchief winding up in other characters' hands. In Act 1,
Othello declares to the Senate that the only magic he used to win Desdemona's
affections was love. Here in Act 3, though, Othello does a reversal and seems to
believe that the love between him and Desdemona is held together by this trifle of a
handkerchief, which supposedly had magical powers. This is another example of
situational irony in which the cool, rational Othello becomes superstitious and
accusatory.

Themes
Themes are the fundamental and often universal ideas explored in a literary work.
.Explore the different themes within William Shakespeare's tragic play, Othello. Themes
are central to understanding Othelloas a play and identifying Shakespeare's social and
political commentary. In Othello, the major themes reflect the values and the motivations
of characters.
Appearance and Reality
Appearance and reality are important aspects in Othello. For Othello, seeing is
believing, and proof of the truth is visual. To "prove" something is to investigate it to the
point where its true nature is revealed. Othello demands of Iago "Villain, be sure thou
prove my love a whore, be sure of it, give me the ocular proof" (Act 3, Scene 3).
What Iago gives him instead is imaginary pictures of Cassio and Desdemona to feed his
jealousy. As Othello loses control of his mind, these pictures dominate his thoughts. He
looks at Desdemona's whiteness and is swept up in the traditional symbolism of white
for purity and black for evil. Whenever he is in doubt, that symbolism returns to haunt
him and despite his experience, he cannot help but believe it.
Jealousy
Jealousy is a major theme in Othello and it is what drives Othello to commit his heinous
deed of killing Desdemona. Othello claims to be a man who "loved not wisely, but too
well;of one not easily jealous..."(V.ii.347).
Whilst it is true that his misplaced trust in "honest" Iago and the "ocular proof" of
Desdemona's infidelity drive this play to its tragic end, initially Othello does not show
any signs of jealousy and is fully aware of Desdemona's friendship with Cassio which,
until Iago starts his manipulative scheming, is not a concern for Othello because he
knows that Desdemona "had eyes and chose me" (III.iii.189). Iago is all too aware of
Othello's " constant, loving, noble nature which he will use against him to incite his
jealousy.
Honor and reputation are equally important to Othello and once his jealousy is aroused
and he has the proof he needs - "I saw the handkerchief" (V.ii.66)- he

must save Desdemona's own reputation "She turn'd to folly, and she was a whore"
(V.ii.133) as well as his own because " nought I did in hate, but all in honor."(V.ii.298)
Othello's jealousy is therefore a result of circumstances and manipulation. Iago is such
a strong personality and has everyone fooled - for most of the play- and his own
jealousy appears to be the motivation for his destruction of Othello - and everyone else
along the way "I do suspect the lusty Moor." Othello gives him no cause to suspect him
but Iago will get his revenge " wife for wife"
(II.i.303).
To build this in to an essay, you will need a strong introduction. There have been many
essays written on Othello's jealousy so you need to grab your reader's attention.
Start with a startling statement such as - From a man with a loving and noble nature,
Othello is transformed in to a crazed, babbling and irrational monster.
Build your quotes in right from the start. You could continue with something like - The
man "that was Othello" (V.ii.285) appears more like Iago than anyone could believe as
his jealousy, much like Iago's jealousy, consumes his life and the life of all around him.
How could a man, so noble in battle, so respected in society and so loved by his wife,
be reduced by such an emotion as to render himself nothing more than "a malignant
and turban'd Turk?"(V.ii.356)
This way you have introduced your main topic (jealousy) which is very important in an
introductory paragraph. You can lead into the most planned part of your essay - the
thesis statement. Ask yourself what the purpose of your essay is. In this instance, you
are trying to convince the reader of your essay about Othello's jealousy and,
presumably, how it is his undoing. You could add a general fact if it will reinforce your
statement such as - Othello, and many more before him and still more after him ,
become so overcome and self-absorbed by their jealousy that communication fails and
common sense has no place in a world of overwhelming coincidences and the schemes
of others (in this case Iago).

You will be able to follow with paragraphs which show Othello's jealousy and also a lack
of communication as Othello believes only one person - Iago- despite protestations by
others. The part that Iago plays in reinforcing Othello's jealousy is also important.
Your conclusion will wrap everything up and basically prove your claims.

Jealousy is what appears to destroy Othello. It is the emotion suggested to him by Iago
in Act 3, Scene 3. Iago thinks he knows jealousy, having rehearsed it in his relationship
with Emilia to the extent that Emilia believes jealousy is part of the personality of men,
but Iago's jealously is a poor, weak thought compared to the storm of jealousy he stirs
up in Othello.
Iago has noticed Othello's tendency to insecurity and overreaction, but not even Iago
imagined Othello would go as far into jealousy as he did. Jealousy forces Othello's mind
so tightly on one idea, the idea that Desdemona has betrayed him with Cassio, that no
other assurance or explanation can penetrate. Such an obsession eclipses Othello's
reason, his common sense, and his respect for justice.
Up to the moment he kills Desdemona, Othello's growing jealousy maddens him past
the recall of reason. Upon seeing that she was innocent and that he killed her unjustly,
Othello recovers. He can again see his life in proportion and grieve at the terrible thing
he has done. Once again, he speaks with calm rationality, judging and condemning and
finally executing himself.
Prejudice
Iago's scheme would not have worked without the underlying atmosphere of racial
prejudice in Venetian society, a prejudice of which both Desdemona and Othello are
very aware. Shakespeare's Desdemona copes with prejudice by denying it access to
her own life. Her relationship with Othello is one of love, and she is deliberately loyal
only to her marriage.
Othello, however, is not aware how deeply prejudice has penetrated into his own
personality. This absorbed prejudice undermines him with thoughts akin to "I am not
attractive," "I am not worthy of Desdemona," "It cannot be true that she really loves me,"
and "If she loves me, then there must be something wrong with her."
These thoughts, inflamed by Iago's hints and lies, prevent Othello from discussing his
concerns and fears directly with Desdemona, and so he acts on panicked assumption.
In order to survive the combined onslaught of internalized prejudice and the directed
venom of Iago, Othello would have had to be near perfect in strength and selfknowledge, and that is not fair demand for anyone.

Motifs

Motifs are recurring structures, contrasts, and literary devices that can help to develop
and inform the texts major themes.
Sight and Blindness
When Desdemona asks to be allowed to accompany Othello to Cyprus, she says that
she saw Othellos visage in his mind, / And to his honours and his valiant parts / Did I
my soul and fortunes consecrate (I.iii. 25 0 2 5 2 ). Othellos blackness, his visible
difference from everyone around him, is of little importance to Desdemona: she has the
power to see him for what he is in a way that even Othello himself cannot.
Desdemonas line is one of many references to different kinds of sight in the play.
Earlier in Act I, scene iii, a senator suggests that the Turkish retreat to Rhodes is a
pageant / To keep us in false gaze (I.iii.19 2 0 ). The beginning of Act II consists
entirely of people staring out to sea, waiting to see the arrival of ships, friendly or
otherwise. Othello, though he demands ocular proof (III.iii.36 5 ), is frequently
convinced by things he does not see: he strips Cassio of his position as lieutenant
based on the story Iago tells; he relies on Iagos story of seeing Cassio wipe his beard
with Desdemonas handkerchief (III.iii.4 3 7 4 4 0 ); and he believes Cassio to be dead
simply because he hears him scream. After Othello has killed himself in the final scene,
Lodovico says to Iago, Look on the tragic loading of this bed. / This is thy work. The
object poisons sight. / Let it be hid (V.ii.37 3 37 5 ). The action of the play depends
heavily on characters not seeing things: Othello accuses his wife although he never
sees her infidelity, and Emilia, although she watches Othello erupt into a rage about the
missing handkerchief, does not figuratively see what her husband has done.
Plants
Iago is strangely preoccupied with plants. His speeches to Roderigo in particular make
extensive and elaborate use of vegetable metaphors and conceits. Some examples are:
Our bodies are our gardens, to which our wills are gardeners; so that if we will plant

nettles or sow lettuce, set hyssop and weed up thyme . . . the power and corrigible
authority of this lies in our wills (I.iii.3 1 7 3 2 2 ); Though other things grow fair against
the sun, / Yet fruits that blossom first will first be ripe (II.iii.34 9 35 0 ); And then, sir,
would he gripe and wring my hand, / Cry O sweet creature!, then kiss me hard, / As if
he plucked kisses up by the roots, / That grew upon my lips (III.iii.42 5 42 8 ). The first
of these examples best explains Iagos preoccupation with the plant metaphor and how
it functions within the play. Characters in this play seem to be the product of certain
inevitable, natural forces, which, if left unchecked, will grow wild. Iago understands
these natural forces particularly well: he is, according to his own metaphor, a good
gardener, both of himself and of others.
Many of Iagos botanical references concern poison: Ill pour this pestilence into his
ear (II.iii.3 3 0 ); The Moor already changes with my poison. / Dangerous conceits are in
their natures poisons, / . . . / . . . Not poppy nor mandragora / Nor all the drowsy syrups
of the world / Shall ever medicine thee to that sweet sleep (III.iii.32 9 3 3 6 ). Iago
cultivates his conceits so that they become lethal poisons and then plants their seeds
in the minds of others. The organic way in which Iagos plots consume the other
characters and determine their behavior makes his conniving, human evil seem like a
force of nature. That organic growth also indicates that the minds of the other
characters are fertile ground for Iagos efforts.
Symbols

Symbols are objects, characters, figures, and colors used to represent abstract ideas or
concepts.
The Handkerchief

The handkerchief symbolizes different things to different characters. Since the

handkerchief was the first gift Desdemona received from Othello, she keeps it about her
constantly as a symbol of Othellos love. Iago manipulates the handkerchief so that
Othello comes to see it as a symbol of Desdemona herselfher faith and chastity. By
taking possession of it, he is able to convert it into evidence of her infidelity. But the
handkerchiefs importance to Iago and Desdemona derives from its importance to
Othello himself. He tells Desdemona that it was woven by a 20 0 -year-old sibyl, or
female prophet, using silk from sacred worms and dye extracted from the hearts of
mummified virgins. Othello claims that his mother used it to keep his father faithful to
her, so, to him, the handkerchief represents marital fidelity. The pattern of strawberries

(dyed with virgins blood) on a white background strongly suggests the bloodstains left
on the sheets on a virgins wedding night, so the handkerchief implicitly suggests a
guarantee of virginity as well as fidelity.
The most dominant symbol in the play is the handkerchief that circulates throughout
the play. Because Othello gave it to Desdemona as a first gift, the handkerchief
functions as a token of his love, which Desdemona cherishes (3.3.1). This is why
Iago convinces his wife to steal it from Desdemona he knows that it has a lot of
sentimental value and that Othello will be angry when he finds out his wife no longer
has it.
Iago also knows that, for Othello, the handkerchief symbolizes Desdemona's fidelity.
When it shows up in Cassio's possession, Othello is convinced that Desdemona is
unfaithful. The white napkin, as we know, is spotted with red strawberries and Othello
tells Desdemona that the strawberries were hand stitched with thread that has been
dyed with blood from "maidens' hearts" or, virgins' blood (3.4.10). In this way, the
handkerchief resembles a white wedding sheet that's also been stained with a virgin's
blood. So, in Othello's mind, as long as Desdemona has the handkerchief in her
possession, she's chaste. But, the moment she "loses it," she looses her chastity.
The handkerchief also seems to function as a symbol of Othello's mysterious past and
his "exoticness." He tells Desdemona that an Egyptian "charmer" gave it to his mother
and that it would keep his father "faithful" and under her spell (3.4.9). That such a
small object has such enormous weight in the play testifies to the sensitivity of jealous
minds, and the way that small incidents can be magnified psychologically into "proofs"
of love or betrayal.
The significance of red is love, red strawberries like red hearts on the love token
handkerchief, and like the red stains from Othello and Desdemona's first night of love on
the marriage sheets. Such red on white is private and dear to the heart of Othello, and
he expects it to be similarly dear to his wife. It is the belief that Desdemona gave away
his handkerchief, and the sexually implications of the gift, that drives him to kill her
The Song Willow
As she prepares for bed in Act V, Desdemona sings a song about a woman who is
betrayed by her lover. She was taught the song by her mothers maid, Barbary, who
suffered a misfortune similar to that of the woman in the song; she even died singing
Willow. The songs lyrics suggest that both men and women are unfaithful to one
another. To Desdemona, the song seems to represent a melancholy and resigned
acceptance of her alienation from Othellos affections, and singing it leads her to
question Emilia about the nature and practice of infidelity.
As Desdemona is preparing for bed the night she will be murdered, she starts singing a
song about willow trees. This song, supposedly sung originally by one of Desdemona's

mother's servants who loved a crazy guy, reflects Desdemona's own situation. She
herself is worried that the man she married has gone crazy and will desert her. Willows
at the edge of water are a traditional symbol of women deserted by their lovers. (In
another Shakespearean example; Ophelia, deserted by her love, Hamlet, dies after she
falls out of a willow tree and drowns in the brook in the play Hamlet
Conclusions
The audience has wondrously liked the play of Shakespeare and comes into terms with
the concepts of different societies whether Venetian or Elizabethan. Shakespeares
established Othello as powerful narrative. Lagos character was the most wicked, evil
and overpowering as he succeeds in ruining the personality of Othello and leading him
to kill his obedient wife Desdemona. The entire play was highly captivating and
engaging for the public and the unexpected twist and turns made popular for all times to
come

Foreshadowing is a literary device which contributes to the suspense and in

the play it is prophetic when Brabantio warns Othello in Act I,scene iii and
says "She has deceived her father and may thee" (293). The only things
Desdemona is guilty of are honesty, trust and loyalty and it is Othello's own
insecurities that contribute to this situation.

Foreshadowing:
(Act 1, scene 3, line 333-334) :" Look to her, Moor, if though hast eyes to see. She has decieved her
father, and may thee."

This line said by Brabantio foreshadows that Desdemona may deceive Othello since he decieved
her own father.

( Act 2, scene 1, line 199- 209):" It give me wonder greate as my content to see you here before me. O
my soul's joy! ifafter every tempest come such calms..."

This line said by Othello forshadows that there may be something bad comeing in the furture for
him and Desdemona.

(Act 1, scene 3, line 321-324): "So please your Grace, my ancient. A man he is honesty and trust. To his
conveyance I assign my wife..."

This line foreshadows that Iago may not be a such an honest man.

(Act 3, scene 3, line 100- 103):" Excellent wretch! Perdition catch my soul..."

This line foreshadows bad events that will happen if Othello falls out of love with Desdemona.