Unselfish AO1 AO2 AO3 AO4 AO5
P1 Pivotal characters Willow song: proleptic irony, where she Montaigne believed that Willows at the edge of water Post-colonial:
in the play are sings about being betrayed by her lover, humans would never be are a traditional symbol of Shakespeare’s portrayal
enveloped by their and is then killed by her husband. able to see past the women deserted by their of Othello, a Moor who
Suggests infidelity is ubiquitous. verisimilitude of lovers: in another was of Moroccan or
unselfish and
“I am not what I am.” - Iago’s duplicity appearance to the realities Shakespearean example, Berber origin, helped to
unconditional does not yet become apparent, that lay behind. Ophelia, deserted by her love, change people’s
regard for love: contradiction moves the statement Hamlet, dies after she falls out perceptions. Othello is
particularly in outside of logic, In the realm of In 1500s, Devil in of a willow tree and drowns in shown as a personable
Othello’s contradiction no kind of logic rules. We Renaissance Art depicted a brook in the play Hamlet. leader, admired as a
unwavering cannot define him. as black. Cf. to “sooty soldier and as a man.
devotion for his bosom”, “thick lips”. Emilia dies while singing it,
“My lord shall never rest, I’ll watch him Cf to “far more fair than women of different classes Marxist: to gain
“fair warrior” , the
tame” - Black brute archetype reinforced, black” - double entendre are subjected to the same masterhood from
dutiful Desdemona, petty jealousies of men, and servitude means playing
term of endearment highlights reverence.
“maiden so bold”. “Lascivious moor” - the grave consequences that the servant long enough
Metaphor of sight exemplified again.
casual racism would ensue to best the master.
Perception has “Visage in my mind” - defines his identities abhor modern audience - “Clasps” = bestial
been tainted through being a warrior & man of Elizabeth I ordered “Honest Iago: dramatic irony”, "Valiant Moor"
distinction, never by ethnicity deportation, racist dogma sustain & excite readers
P2 Love is selfish and Handkerchief: symbolic of Desdemona’s Iago embodies the Aspects of tragedy: reversal of Marxist: Othello gives
consuming by all untarnished love, twisted into her fidelity. transgression of all three natural order causes ensuing Desdemona power to
characters: Red strawberries on pattern of white commandments and is chaos, Desdemona’s win her; Iago pledges
particularly in cloth; reminiscent of marriage bed on portrayed as one of the subservice of husband loyalty to Othello in
Iago’s wedding day consummation, where woman most despicable foreshadows her tragic death order to destroy him; I
circumstance who was expected to bleed when she lost characters in Emilia will resort to
sees love as an virginity. Insig prop has power, fragile Shakespeare’s plays: Exude love: “My life upon her criminal behavior
obstacle in faith”, fricative: suggests thinking it will raise
achieving life’s true Iago’s innate ability to manipulate Stealing, lying, coveting equitable, emphasise equals. Iago’s opinion of her
desire: power. anything; only “ocular proof”. - bitter because he has These relationships all
Juxtaposition, irony, exclaim
Oxymoron of “fair warrior” depicts been passed over for contribute to the theme
Language evolves Othello’s true desires: ambition to become promotion, and he speaks Shakespeare uses images of of jealousy in its overt
to “strumpet” & scathingly of Cassio, who disease metaphors for the and subtle forms.
esteemed war general & revered by corruption seen in
“subtle whore” has been promoted
society: no longer be an outsider Elizabethan society.
