how to write an othello literary essay

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Essays on Othello

🎭💔✍️ othello essay: dive into the drama.

Othello, the magnificent Shakespearean tragedy, is like a rollercoaster ride of emotions! 😱💔 Exploring this timeless masterpiece in an essay can unlock a world of insights and ignite your imagination 🔥. By delving into the depths of Othello's themes, characters, and plot twists, you can unravel the complexities of human nature and society. It's an opportunity to showcase your analytical skills and showcase your love for literature. So, buckle up and embark on an Othello essay adventure!

Othello Essay Topics 📝

Othello argumentative essay 🤔💬.

An argumentative essay on Othello requires you to take a stance and defend it with solid evidence from the play. Some intriguing topics to consider:

• Is Othello a victim of racism or his own insecurities?
• Did Iago's evil nature drive Othello to his tragic downfall?
• Should Desdemona be held responsible for her fate?

Othello Cause and Effect Essay 🌪️🤯

In a cause and effect essay, you'll explore the ripple effects of certain actions or events in Othello. Here are some captivating topics to ponder:

• The consequences of Iago's manipulation on Othello's relationships.
• How jealousy leads to destruction in Othello's world.
• The impact of societal norms on Othello's tragic fate.

Othello Opinion Essay 🗣️😮

Opinion essays allow you to express your personal viewpoint on specific aspects of Othello. Here are some thought-provoking topics to spark your imagination:

• Is Othello's jealousy justified or exaggerated?
• Should Othello have trusted Desdemona despite the rumors?
• What role does gender play in the tragedy of Othello?

Othello Informative Essay 📚📖

Informative essays aim to educate readers about various aspects of Othello. Here are some enlightening topics to enlighten your audience:

• The historical context of Othello: Shakespeare's portrayal of race and society.
• The symbolism of the handkerchief in Othello and its significance.
• The evolution of Othello's character throughout the play.

Othello Essay Example 📑

Othello thesis statement examples 📜💡.

Here are a few thesis statement examples to inspire your Othello essay:

• Thesis: Othello's tragic downfall is a result of his vulnerability to manipulation by Iago due to his insecurities about his race and age.
• Thesis: The handkerchief symbolizes trust, fidelity, and betrayal in Othello, highlighting the fragility of relationships.
• Thesis: Othello's jealousy is fueled by societal expectations and gender roles, leading to the tragedy that unfolds.

Othello Essay Introduction Examples 🌟

Here are some introduction paragraph examples for your Othello essay:

• Introduction: Othello, a play filled with love, deception, and revenge...
• Introduction: In the realm of Shakespearean tragedies, Othello stands as a poignant exploration of love, jealousy, and the destructive power of manipulation. As we venture into the depths of this timeless masterpiece, we are transported to a world where trust is fragile, and motives are concealed. Othello's journey, from a celebrated Moorish general to a tragic figure consumed by jealousy, invites us to contemplate the complexities of human emotion and the consequences of unchecked suspicion.
• Introduction: Othello, the Moor of Venice, is a character whose name echoes through the annals of literary history. In our exploration of Othello's tragic tale, we confront issues of race, trust, and the corrosive force of jealousy. As we delve into this gripping narrative, we are challenged to dissect the motives of its characters and the underlying themes that continue to resonate in today's society.

Othello Essay Conclusion Examples 🔚📝

Here are some conclusion paragraph examples for your Othello essay:

• Conclusion: As we bid farewell to the tragic world of Othello, we are left with a profound exploration of human nature, jealousy, and the consequences of deceit. Shakespeare's timeless masterpiece continues to captivate and haunt our hearts, reminding us of the enduring power of storytelling.
• Conclusion: In the final act of Othello, we witness the devastating aftermath of jealousy and manipulation. The tragic downfall of Othello, Desdemona, and others serves as a cautionary tale, reminding us of the destructive potential of unchecked emotions. As we bid farewell to this tale of love and betrayal, let us carry forward the lessons learned from the characters' fates, recognizing the enduring relevance of Shakespeare's exploration of the human condition.
• Conclusion: Othello, a masterpiece of tragedy, leaves an indelible mark on our understanding of human nature. Through the twists and turns of its plot, we are confronted with the consequences of jealousy and deceit. As our journey through this timeless work comes to a close, let us reflect on the enduring power of literature to illuminate the complexities of the human soul and the fragility of trust.

Symbols Role in Shakespeare's Othello

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Destructive Jealousy in Iago and Othello

"othello" and "o": comparing themes of jealousy and power, the jealousy in othello: literary analysis, misogyny in othello by william shakespeare, let us write you an essay from scratch.

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Othello: Desdemona as a Representation of Power and Possession

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The Power of Jealousy in Shakespeare’s Othello

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1603, William Shakespeare

Play; Tragedy

Othello, Desdemona, Iago, Michael Cassio, Emilia, Roderigo, Bianca, Brabanzio, Duke of Venice, Montano, Lodovico, Graziano, Clown

The play is primarily based on a story from an Italian novella called "Un Capitano Moro" by Cinthio. Shakespeare took inspiration from this source material and adapted it into his own version, adding depth and complexity to the characters and exploring themes of jealousy, betrayal, and manipulation.

In the tragic play "Othello" by William Shakespeare , the story follows the powerful and respected Moorish general, Othello. Othello secretly marries Desdemona, a Venetian woman, despite objections from her father, Brabantio. Othello's ensign, Iago, harboring deep resentment and jealousy, manipulates events to destroy Othello's life. Iago plants seeds of doubt in Othello's mind, insinuating that Desdemona has been unfaithful to him with his lieutenant, Cassio. Consumed by jealousy, Othello becomes increasingly suspicious and tormented by his thoughts. Iago's cunning manipulations lead Othello to believe in the alleged affair, pushing him into a spiral of rage and despair. Othello's doubts intensify, leading him to confront Desdemona and ultimately strangle her in a fit of madness. Upon discovering the truth and Iago's treachery, Othello takes his own life in a moment of devastating realization. The play concludes with Iago's exposure and punishment for his deceitful actions.

The play "Othello" by William Shakespeare is set in the late 16th century, primarily in the city of Venice and later on the island of Cyprus. Venice, a vibrant and cosmopolitan city, serves as the initial backdrop for the story. Its opulent palaces, canals, and bustling streets create an atmosphere of grandeur and sophistication. The Venetian setting reflects the cultural diversity of the time, with characters from various backgrounds and ethnicities. As the plot progresses, the setting shifts to the island of Cyprus, where Othello is stationed with his troops. Cyprus offers a contrasting environment to Venice, characterized by its remote and isolated nature. The island's rugged landscape and military camp create a tense and confined atmosphere, amplifying the dramatic events that unfold. Both settings play a significant role in the play's themes and conflicts. Venice represents the veneer of civilization and societal expectations, while Cyprus represents the raw emotions, passions, and darker aspects of human nature. The contrasting settings highlight the clash between appearances and reality, order and chaos, and ultimately contribute to the tragedy that unfolds in "Othello."

1. Jealousy and Betrayal: The theme of jealousy lies at the heart of the play, as Iago manipulates Othello's trust and fuels his insecurities, leading to tragic consequences. Betrayal is also explored as characters deceive one another for personal gain, highlighting the destructive power of envy and deceit. 2. Racism and Prejudice: Othello, a Moorish general, faces discrimination and racial prejudice throughout the play. Shakespeare examines the destructive effects of racism, as Othello's character is systematically undermined and ultimately destroyed by the racist assumptions and stereotypes held by others. 3. Appearance versus Reality: The theme of appearance versus reality is prevalent as characters wear masks of virtue and honesty while concealing their true intentions. Othello's tragic downfall is a result of his inability to discern truth from falsehood, emphasizing the dangers of misjudgment and manipulation. 4. Love and Obsession: The play explores various forms of love, from passionate romance to obsessive possessiveness. The intense love between Othello and Desdemona is contrasted with Iago's twisted obsession with destroying their happiness, shedding light on the complexities of human relationships. 5. Gender and Power: Shakespeare examines gender dynamics and the societal expectations placed upon women. Desdemona's character challenges traditional gender roles, while Emilia, Iago's wife, highlights the subjugation of women and the consequences of male dominance.

1. Imagery: Shakespeare skillfully uses vivid imagery to create powerful visual and sensory impressions. For example, in Act 1, Scene 1, Iago describes Othello and Desdemona's elopement as "an old black ram / Is tupping your white ewe," employing the contrasting images of a black ram and a white ewe to convey the scandalous nature of their relationship. 2. Soliloquy: Soliloquies allow characters to express their inner thoughts and feelings to the audience. One notable example is Othello's soliloquy in Act 5, Scene 2, where he reflects on his decision to kill Desdemona, saying, "It is the cause, it is the cause, my soul," revealing his internal struggle and justifying his actions. 3. Foreshadowing: Shakespeare employs foreshadowing to hint at future events and build tension. In Act 3, Scene 3, Desdemona tells Othello, "The heavens forbid / But that our loves and comforts should increase / Even as our days do grow," foreshadowing the impending tragedy and the deterioration of their relationship. 4. Irony: Irony is used to create a contrast between what is expected and what actually occurs. For instance, when Iago says, "I am not what I am," in Act 1, Scene 1, it is an ironic statement, as he presents himself as trustworthy while plotting Othello's downfall. 5. Symbolism: Shakespeare employs symbolism to convey deeper meanings. The handkerchief, a symbol of fidelity, becomes a significant object in the play. Its loss and subsequent manipulation by Iago symbolize the erosion of trust and the unraveling of Othello's marriage.

In 1995, director Oliver Parker released a film adaptation of "Othello" starring Laurence Fishburne as the titular character. Fishburne's portrayal emphasized Othello's dignity and inner conflict, earning critical acclaim. Another notable film adaptation is Orson Welles' 1952 version, where Welles himself took on the role of Othello, showcasing his powerful presence on screen. "Othello" continues to be performed on stage worldwide. Notable theatrical productions include the Royal Shakespeare Company's 2015 production, featuring Hugh Quarshie as Othello, and the 2007 Broadway revival, with Chiwetel Ejiofor in the lead role, receiving critical acclaim for their compelling interpretations. Othello's character has also been explored in literary adaptations and reimaginings. For example, in 2001, author Sena Jeter Naslund wrote the novel "Ahab's Wife," where she includes a fictional encounter between Othello and the protagonist. These adaptations offer different perspectives and delve into the complexity of Othello's character. Othello's story has inspired numerous musical compositions. One notable example is the opera "Otello" by Giuseppe Verdi, which premiered in 1887. Verdi's powerful music captures the intense emotions of the characters and brings Othello's tragic tale to life.

1. Literary Influence: "Othello" has had a profound influence on subsequent works of literature. Its exploration of themes such as jealousy, betrayal, and the destructive power of manipulation has inspired countless writers. For example, Toni Morrison's novel "A Mercy" draws parallels to "Othello" in its exploration of race and power dynamics. The play's tragic elements and psychological depth have also influenced works like James Joyce's "Ulysses" and D.H. Lawrence's "Women in Love." 2. Psychological Exploration: Othello's tragic descent into jealousy and manipulation has made the play a subject of psychological analysis. The character's inner conflict and the manipulation he falls victim to offer rich material for the study of human psychology, particularly in relation to themes of trust, self-doubt, and the destructive nature of unchecked emotions. 3. Social Commentary: "Othello" addresses issues of race, identity, and prejudice, making it a powerful tool for social commentary. The play's examination of racial stereotypes and the destructive consequences of discrimination still resonate today. Othello's position as a black man in a predominantly white society has been explored and analyzed in the context of race relations, colonialism, and social injustice. 4. Performance and Theater: "Othello" has had a lasting impact on the world of theater and performance. The character of Othello presents a unique and complex role for actors, requiring both physical presence and emotional depth. The play's themes and dramatic tension continue to captivate audiences, leading to numerous adaptations, productions, and reinterpretations on stage. 5. Language and Imagery: Shakespeare's masterful use of language and vivid imagery in "Othello" has had a lasting impact on the English language. Phrases like "green-eyed monster" and "the beast with two backs" have become part of the cultural lexicon. The play's powerful speeches and soliloquies have been studied, quoted, and admired for their beauty and poetic expression.

1. "Othello" is believed to have been first performed around 1604. While the exact date is unknown, it is widely believed to have premiered at the Court of King James I in London. The play was met with great success and has since become one of Shakespeare's most acclaimed tragedies. 2. "Othello" has contributed several phrases and expressions to the English language. One notable example is the term "the green-eyed monster," used to describe jealousy. This phrase has become a popular way to convey the destructive nature of envy. Additionally, the phrase "wear my heart upon my sleeve" originates from the play, referring to openly displaying one's emotions. 3. Traditionally, the character of Othello has been played by a white actor in blackface makeup. This casting practice has faced criticism and controversy over the years, as it perpetuates racial stereotypes and limits opportunities for actors of color. In recent times, there has been a growing movement towards authentic casting, with actors of African descent portraying the role to offer a more nuanced and authentic representation of Othello's racial identity.

"Othello" remains a timeless and significant work in literature, making it an important subject for essays and academic discussions. Shakespeare's masterful exploration of themes such as jealousy, deception, race, and power continues to resonate with audiences across generations. The character of Othello, a Moorish general in a predominantly white society, raises critical questions about racism, discrimination, and the manipulation of prejudices. Additionally, the play delves into the destructive nature of jealousy and how it can lead to tragic consequences. Writing an essay about "Othello" allows scholars to analyze the complexity of characters like Iago, whose malevolent machinations drive the plot. It offers opportunities to discuss the portrayal of women in the play and the theme of women's agency in a patriarchal society. Furthermore, exploring the play's language, literary devices, and poetic techniques showcases Shakespeare's genius as a playwright. By grappling with the moral dilemmas and psychological depth of the characters, an essay on "Othello" opens doors to deeper insights into human nature, society, and the enduring power of Shakespeare's storytelling.

"She loved me for the dangers I had passed, And I loved her that she did pity them. This only is the witchcraft I have used." "I kissed thee ere I killed thee — no way but this, killing myself to die upon a kiss" "Reputation, reputation, reputation! Oh, I have lost my reputation! I have lost the immortal part of myself, and what remains is bestial" "Men in rage strike those that wish them best" "But I will wear my heart upon my sleeve for daws to peck at: I am not what I am"

1. Chandler, M. (1987). The Othello effect. Human development, 30(3), 137-159. (https://www.karger.com/article/Abstract/273174) 2. Shakespeare, W. (2019). othello. In One-Hour Shakespeare (pp. 231-302). Routledge. (https://www.taylorfrancis.com/chapters/edit/10.4324/9780429262715-11/othello-william-shakespeare) 3. Neill, M. (1989). Unproper beds: Race, adultery, and the hideous in Othello. Shakespeare Quarterly, 40(4), 383-412. (https://www.jstor.org/stable/2870608) 4 . Neely, C. T. (1977). Women and Men in" Othello";" what should such a fool/Do with so good a woman?". Shakespeare Studies, 10, 133. (https://www.proquest.com/openview/91053b700d876bd2b3be478cb40742b1/1?pq-origsite=gscholar&cbl=1819311) 5. Cipriani, G., Vedovello, M., Nuti, A., & Di Fiorino, A. (2012). Dangerous passion: Othello syndrome and dementia. Psychiatry and clinical neurosciences, 66(6), 467-473. (https://onlinelibrary.wiley.com/doi/full/10.1111/j.1440-1819.2012.02386.x) 6. Siegel, P. N. (1953). The Damnation of Othello. PMLA, 68(5), 1068-1078. (https://www.cambridge.org/core/journals/pmla/article/abs/damnation-of-othello/F3193C55450F83F4EFACB0DDF5983B0E) 7. Poulson, C., Duncan, J., & Massie, M. (2005). “I Am Not What I Am”–Destructive Emotions in an Organizational Hierarchy: The Case of Othello and Iago. In The Effect of Affect in Organizational Settings (Vol. 1, pp. 211-240). Emerald Group Publishing Limited. (https://www.emerald.com/insight/content/doi/10.1016/S1746-9791(05)01109-0/full/html) 8. Bristol, M. D. (1990). Charivari and the Comedy of Abjection in" Othello". Renaissance Drama, 21, 3-21. (https://www.journals.uchicago.edu/doi/abs/10.1086/rd.21.41917258?journalCode=rd) 9. Nowottny, W. (1954). Justice and love in Othello. University of Toronto Quarterly, 21(4), 330-344. (https://www.utpjournals.press/doi/abs/10.3138/utq.21.4.330) 10. Braden, W. S. (1990). The Properties of" Othello,". Philosophy and Literature, 14(1), 186-187. (https://muse.jhu.edu/pub/1/article/417219/summary)

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A Comprehensive Guide to Analysing ‘Othello’ for English: Summary, Context, Themes & Characters

Are you studying Shakespeare’s ‘Othello’ and are struggling to understand his writing, the themes and crafting an essay for your upcoming assessment? We’re here to help you with a simple summary of Othello, its key characters and context so you can formulate your own analysis!

PLUS, you’ll be getting a step-by-step analysis table (called a TEE Table ) as well as a sample paragraph so you can see what an extensive response looks like. 

So, let’s get into it and ace your essay on Othello! 

Summary of Othello Key Characters in Othello Context Themes Explored in Othello Essay Analysis of Othello

Summary of Othello

Othello is one of Shakespeare’s greatest tragedies, performed in five acts depicting the dramatic downfall of a hero as a result of racial prejudice, jealousy and pride.

The play is set in motion when an African General in the Venetian Army, Othello, passes over Iago , a senior officer in the Venetian Army who is under Othello’s command, to promote Michael Cassio as his chief lieutenant instead.

Driven by extreme hate and jealousy of Othello’s celebrated successes and his need for control, Iago is determined to destroy Othello and begins to plot Othello’s undoing through his wife, Desdemona, the daughter of an important Venetian senator, Brabantio. 

Laurence Fishburne and Kenneth Brannagh as Othello and Iago in Oliver Parker’s 1995 ‘ Othello’

Iago firstly enlists Roderigo, Desdemona’s rejected lover, to inform Brabantio about Desdemona’s elopement to Othello, urging an enraged Brabantio to appeal to the Duke of Venice to have Othello punished for seducing Desdemona by witchcraft. However, Othello defends himself in front of Brabantio and his senators, Desdemona confirms that she is deeply in love with Othello , and that their marriage was not coerced.

Brabantio warns Othello that Desdemona will betray him , and says, “ Look to her, Moor, if thou hast eyes to see. She has deceived her father, and may thee,” to which Iago takes note as they leave Venice for Cyprus. 

After arriving in Cyprus and learning that the storm has destroyed the Turkish fleet, Othello commences a celebration with his army, while he leaves to consummate his marriage to Desdemona. Iago gets Cassio drunk, and persuades Roderigo to duel Cassio.

Montano tries to calm them down, but an inebriated Cassio proceeds to fight, injuring Montano in the process. Othello reappears, questions the men and blames Cassio for the feud, thus stripping him off his rank.

Cassio is distraught, however, Iago convinces him to plead to Desdemona to have Othello reinstate him. She succeeds. 

Iago begins to convince Othello of a false affair between Cassio and Desdemona. When Desdemona drops her handkerchief, Othello’s first gift to her, Emilia (Iago’s wife) gives it to Iago, unaware of his plans.

Persuaded by Iago’s false claims and planting seeds of doubt, Othello swears Desdemona and Cassio’s death, and promotes Iago as his lieutenant. 

Iago then plants Desdemona’s handkerchief in Cassio’s belongings, while ordering Othello to watch Cassio’s responses as Iago questions him from afar. While Iago questions Cassio about his affair with Bianca, a local courtesan, Othello is made to believe that the two men are talking about Desdemona.

Meanwhile, Bianca appears and accuses Cassio of gifting her with a second-hand item. Othello, still watching from afar, is enraged, and believes Iago’s claims that Desdemona had given this handkerchief to Cassio.

A hurt Othello resolves to kill Desdemona and Cassio with Iago’s help , and strikes Desdemona in front of visiting Venetian nobles. Roderigo, still upset, is urged by Iago to kill Cassio. 

Access Othello Downloadable Sample Paragraph and Examples of Essay Analysis here!

Roderigo pursues Cassio in the streets, and Cassio injures Roderigo. Meanwhile, Iago appears from the shadows and stabs Cassio from behind, wounding his leg.

In the night, Iago manages to hide his identity, and joins Lodovico and Gratiano when Cassio cries for help, thus appearing as unknowing of the scuffle. When Cassio identifies Roderigo as the attacker, Iago stabs him to prevent him from revealing the plan. 

Othello confronts Desdemona, and smothers her with a pillow. Emilia arrives, calling for help, to which the former governor Montano arrive with Gratiano and Iago. After Othello shows proof of the handkerchief, Emilia realises Iago’s plot and exposes him, whereupon he kills her.

Meanwhile, Othello realises Desdemona’s innocence and stabs Iago in revenge. Iago refuses to explain his motives and Lodovico apprehends Iago and Othello for the murders of both the women, but Othello commits suicide. Cassio arrives and is promoted as Othello’s successor, and punishes Iago justly. 

Key Characters in Othello

Othello As a competent and highly regarded serviceman of the Venetian Republic, Othello is the ‘Moorish’ General of the Venetian Army and the protagonist of our story. He elopes with Desdemona, and ultimately succumbs to Iago’s deceit, leading to his tragic death.  The audience follows Othello’s eventual downfall through the collapse of his own self-perception, as instigated and dominantly narrated by Iago. It is through Iago that the audience sees Othello’s eroding sense of self, calculating his moves to remind Othello that he is the ‘Moor’ and signifying his difference. Here, Othello’s own fears of himself of his age, his status and his race come to light, especially the fear of Desdemona’s infidelity which immediately leads him to farewell his soldierly career. He is referred to as “an old black ram” in comparison to Desdemona’s nature as a “white ewe” (I.i.88), ostracising him from the rest of society and thus making him an easy prey for Iago. Until the very late stages of the play, Othello’s agency is not singular, but instead is driven by Iago.  A Moor by James Northcote (1826) – Ira Alridge as the first Black actor in Britain to play Othello Sourced from Manchester Art Gallery However, Othello also positions himself as an outsider, which adds to his victimisation. Though Othello’s skill as a soldier and leader positions him as a great influence, it is still his exotic qualities that entice others such as Desdemona and Brabantio to him. As an eloquent speaker, the Duke mentions that ‘I think this tale would win my daughter too’ (I.iii.70). These qualities present him as an outsider, both in race and in eloquence, thus creating a cathartic ending for a hero falling prey to tragedy. 

Iago It is clear that Iago’s extreme jealousy and need to avenge Othello’s ‘wrongdoing’ engineers the plot for revenge. Here, Iago’s malicious intentions cultivate the entire scenario of revenge in the play, and thus, he is widely regarded as a ‘Machiavellian’ character (fro​​m Machiavelli’s 1532 political treatise The Prince ). He is cunning, cold, and concerned with personal gain over morality.  Charles Kemble as Iago in Othello, by Richard James Lane (1840) Sourced from National Portrait Gallery, London Iago cleverly distorts Othello’s reality of himself and the reality for the rest of the characters, creating an ambiguous and distrustful narrative that culminates in destruction . Firstly, Iago’s jealousy stems from his hatred for Othello’s success as an outsider in Venice . Othello occupies a difficult position and becomes the most fated soldier, despite his appearance in a European city. This charges Iago’s animalistic language towards Othello, regarding him as a ‘Barbary horse’ (1.i.113). Secondly, he resents Cassio’s rise to power (1.iii). Possessing an extraordinary power to manipulate, Iago’s jealousy acts as a catalyst to create a cycle of revenge and envy that loops in Othello and Roderigo to destruction. 

Context of Othello

The earliest recorded performance of Othello was in 1604, under the title The Moor of Venice , during the cusps of the reigns of Elizabeth I and James I. Othello’s Mediterranean setting is significant as it presents an age of increasing European maritime power, and authority over the ocean was crucial for the politics in Mediterranean states.

This involved both Western powers (Spain, Portugal and Italy) as well as the Eastern Mediterranean empire of the Ottomans (modern day Turkey), who were in constant conflict over control of the Adriatic and eastern Mediterranean seas.

While the first part of the play is set in Europe, Act II of the play is set in the small island of Cyprus , the site of Venetian and Ottoman rivalries. After the death of James II, Venice had full control of Cyprus, which proved strategic for Venetian Army to launch attacks against the Ottomans. Othello’s military successes are set within this conflict. 

Othello’s Castle, North Cyprus

Sourced from Visit North Cyprus

Othello’s life story also reflects the mobility (including enforced) of lives across the Mediterranean. Othello is referred to as a ‘Moor’, signifying his racial difference from the rest of the — mostly white — European characters.

However, there is no clear concept of ‘Moor’, as the term can refer to an Arabian person from North Africa or a Southern Spanish person. This term is used today in quotations.

Though Othello’s race bridges the gap between his military service and war against the Muslim empire, Othello nevertheless succumbs to Iago’s words, increasingly becoming vulnerable about his status and heightening his insecurities. Iago plays on the cultural divide between black-and-white, ultimately fuelling Othello’s anxiety and the downfall of his status and his marriage.

Themes Explored in Othello

Below are some key ideas from Othello. These are great starting points for you to consider your arguments, thesis and topic sentences:

Racial Prejudice

• Jealousy and revenge
• Deception — appearance VS reality

The role of racial prejudice is imperative in Iago’s emotional and mental poisoning of Othello, driving him to the point of distrust and extreme isolation. Other characters already hold Desdemona and Othello’s marriage in disdain, such as Brabantio who warns that “Bond-slaves and pagans shall our statesman be” (1.i.98-99), putting them against the status quo and the present view of their world.

Iago only exacerbates Othello’s ingrained fears of ‘Moorish’ differences towards his position in the Army, his wife and his status in Venice, becoming a lethal weapon in Othello’s self-destruction.

This drives him to the point of isolation and self-hatred, where he trusts no one but Iago. Eventually, Othello begins to blame his complexion for allegedly depriving his wife of her good nature: ‘Her name, that was as fresh / As Dian’s visage, is now begrim’d and black / As mine own face’ (3.ii.386-8).

His inherent fears of his Moorish complexity and exotic characteristics tainting his wife consequently prompts his vulnerability towards his marriage, and his lack of self-reassurance unconsciously places him in a white perspective of his own blackness. Therefore, these ingrained perspectives of himself in society seal both the fates of himself and of Desdemona. 

Jealousy and Revenge

Iago’s jealousy drives him to deadly extremes to emotionally violate his alleged ‘oppressors’, and provokes the rest of his characters such as Roderigo, Bianca and Othello into ‘the green-eyed monster’ (3.iii.166).

Roderigo’s unrequited love for Desdemona makes him extremely jealous of Othello, and Bianca is jealous when she finds Desdemona’s handkerchief in Cassio’s lodgings. Iago provokes this jealousy on Othello with the handkerchief as ‘ocular proof’ (3.iii.360) of the infidelity, which has been passed from Desdemona, to Emilia and then to Bianca, drawing an implicit parallel between the innocent women and the men’s perception of women in marriage.

This consumes Othello the most, in which Iago’s extreme need for revenge fuels the strategically distorted narrative, confirms his suspicions and fulfils his expectations.

Deception — Appearance VS Reality

Iago’s power to manipulate allows him to plant seeds of doubt in Othello and other characters throughout the play. His success to quickly and cleverly manipulate Othello stems from the tales of perceived misogyny and view of female sexuality that is already shared among men.

Iago reminds Othello that Desdemona is a creature of deception, as she ‘did deceive her father, marrying you’ (3.iii.206), and that she will do so to him: ‘Look to her, Moor, if thou hast eyes to see; / She has deceived her father, and may thee’ (1.iii.292-3). 

Dramatic irony (the gap of knowledge between what the audience and the character knows) serves as a catharsis for the audience and provokes an emotional response in the tragedy. Here, Iago continues to finely calibrate a sense of torment in Othello’s imagination through his deceptive language as he tells Othello that Cassio lies ‘with [Desdemona], on her, as you will’ (4.i).

In doing so, he constantly plants mental images of uncertainty and instability in Othello, leaving Othello to connect and unknowingly create a flawed narrative that he believes to be true . Iago masks this deception as he merely justifies his actions by reflecting his victim’s own beliefs: ‘I told him what I thought and no more / Than what he found himself was apt and true’ (5.ii.176-77). 

In this way, he deflects blame from himself, and while he engineers the chaos, he does not become the fundamental source of Othello’s, Desdemona’s and Emilia’s deaths. 

Studying on the night before your exam? Make sure to use our exam prep routine for English here !

Essay Analysis: How to Analyse Othello in 3 Steps

Most students will begin to write their essay and their thesis without any supporting evidence, themes or analysis . You will need to equip yourself with the knowledge of your text before answering anything about it. 

Analysing a text, providing it with evidence and techniques may be easier than you think… it’s like a formula! We can say ‘a + b = c’. But what are these?

A = Evidence B = Technique C = Analysis

After knowing your text, you can build ideas from it, and start writing your thesis! So, let’s walk through on how to analyse Othello:

Step 1: Choosing your evidence (‘A’)

Choosing your evidence can be tough, because there are just so many good ones you can choose from! 

But you need to remember that you must choose evidence that supports your argument and answers the question . But how do we do that?

Let’s gather important pieces that we have seen throughout this article. Here is one we have chosen for you:

‘Even now, now, very now, an old black ram / Is tupping your white ewe’ (1.i.88-89)

Step 2: Identifying your technique(s) (‘B’)

This isn’t just about finding any old technique or using a technique that is fancy and hoping for the best! It’s about what best suits your evidence, your analysis, and subsequently, your answer to the question.

Techniques are what help composers convey the message to their audience and their readers. So, we need to identify a technique that will enable you to say something about your idea that’s interesting, and will contribute to your analysis of Othello. 

Try to focus on finding examples with techniques which unveil a deeper meaning like metaphors, similes, figurative language, connotations, symbolism and recurring motifs. Other techniques like alliteration and repetition are a bit harder to find a deeper meaning in!

We have identified 3 techniques in the quote above: zoomorphism, contrast and metaphor . 

It’s always great to try and find multiple techniques in your quotes as it allows you to take your analysis up a notch!

Step 3: Writing your analysis (‘C’)

When you write the analysis for your essay on Othello, it is important to always focus on what the effect of the technique is . One of the worst things you can do when writing analysis is technique labelling. Technique labelling would look like this:

The zoomorphism between “black ram… tupping [your] white ewe” shows how Iago wants Brabantio to see Othello’s elopement to Desdemona, contrasting his physical appearance and nature to hers. 

Instead, we need to flesh out how those techniques get us to our point . Firstly, Iago’s language is important as he uses zoomorphism to reduce Othello and Desdemona into animals.

Secondly, the contrast between the “black ram” and “white ewe” is important to signify the binary oppositions between Othello and Desdemona.

Lastly, the use of the metaphor of animals is important as it depicts that Othello and Desdemona’s behaviour is greatly looked down upon, especially in a Venetian society. 

So, if we include that in our essay analysis of Othello, this would look like…

Iago’s cries to Brabantio that “Even now, now, very now, an old black ram / Is tupping your white ewe” (1.i.88-89), using zoomorphism to reduce Othello and Desdemona’s wildly radical behaviour into animals. The contrast between the “black ram” and the “white ewe” signifies the binary oppositions between Othello and Desdemona, and is a metaphor for their disapproved marriage against social norms and the racial prejudice pervading their Venetian society.

Need some help with your essay analysis of other texts aside from Othello?

Check out other texts we’ve created guides for below:

• Romeo and Juliet
• Run Lola Run
• The Great Gatsby
• To Kill a Mockingbird
• The Book Thief
• The Tempest
• Blade Runner
• Things Fall Apart
• Mrs Dalloway

We’ve also got articles specifically on plays by Shakespeare which you can have a read through below:

• King Richard III
• A Midsummer Night’s Dream
• The Merchant of Venice
• Much Ado About Nothing

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Home › Drama Criticism › Analysis of William Shakespeare’s Othello

Analysis of William Shakespeare’s Othello

By NASRULLAH MAMBROL on July 25, 2020 • ( 0 )

Of all Shakespeare’s tragedies . . . Othello is the most painfully exciting and the most terrible. From the moment when the temptation of the hero begins, the reader’s heart and mind are held in a vice, experiencing the extremes of pity and fear, sympathy and repulsion, sickening hope and dreadful expectation. Evil is displayed before him, not indeed with the profusion found in King Lear, but forming, as it were, the soul of a single character, and united with an intellectual superiority so great that he watches its advance fascinated and appalled. He sees it, in itself almost irresistible, aided at every step by fortunate accidents and the innocent mistakes of its victims. He seems to breathe an atmosphere as fateful as that of King Lear , but more confined and oppressive, the darkness not of night but of a close-shut murderous room. His imagination is excited to intense activity, but it is the activity of concentration rather than dilation.

—A. C. Bradley, Shakespearean Tragedy

Between William Shakespeare’s most expansive and philosophical tragedies— Hamlet and King Lear —is Othello, his most constricted and heart-breaking play. Othello is a train wreck that the audience horrifyingly witnesses, helpless to prevent or look away. If Hamlet is a tragedy about youth, and Lear concerns old age, Othello is a family or domestic tragedy of a middle-aged man in which the fate of kingdoms and the cosmos that hangs in the balance in Hamlet and Lear contracts to the private world of a marriage’s destruction. Following his anatomizing of the painfully introspective intellectual Hamlet, Shakespeare, at the height of his ability to probe human nature and to dramatize it in action and language, treats Hamlet’s temperamental opposite—the man of action. Othello is decisive, confident, and secure in his identity, duty, and place in the world. By the end of the play, he has brought down his world around him with the relentless force that made him a great general turned inward, destroying both what he loved best in another and in himself. That such a man should fall so far and so fast gives the play an almost unbearable momentum. That such a man should unravel so completely, ushered by jealousy and hatred into a bestial worldview that cancels any claims of human virtue and self-less devotion, shocks and horrifies. Othello is generally regarded as Shakespeare’s greatest stage play, the closest he would ever come to conforming to the constrained rules of Aristotelian tragedy. The intensity  and  focus  of  Othello   is  unalleviated  by  subplots,  comic  relief,  or  any  mitigation  or  consolation  for  the  deterioration  of  the  “noble  Moor”  and  his  collapse into murder and suicide. At the center of the play’s intrigue is Shakespeare’s most sinister and formidable conceptions of evil in Iago, whose motives and the wellspring of his villainy continue to haunt audiences and critics alike. Indeed, the psychological resonances of the drama, along with its provocative racial and gender themes, have caused Othello, perhaps more than any other of Shakespeare’s plays, to reverberate the loudest with current audiences and commentators. As scholar Edward Pechter has argued, “During the past twenty-five years or so, Othello has become the Shakespearean tragedy of choice, replacing King Lear in the way Lear had earlier replaced Hamlet as the play that speaks most directly and powerfully to current interests.”

Shakespeare derived his plot from Giraldi Cinthio’s “Tale of the Moor,” in the story collection Hecatommithi (1565), reshaping Cinthio’s sensational tale of jealousy, intrigue, and murder in several key ways. In Cinthio’s story, Alfiero, the scheming ensign, lusts after the Moor’s wife, named Disdemona, and after she spurns his advances, Alfiero seeks vengeance by accusing her of adultery with Cassio,  the  Moor’s  lieutenant.  Alfiero,  like  Iago,  similarly  arouses  the  Moor’s  suspicions by stealing Disdemona’s handkerchief and planting it in Cassio’s bed-room. However, the Moor and Alfiero join forces to kill Disdemona, beating her  to  death  with  a  stocking  filled  with  sand  before  pulling  down  the  ceiling  on her dead body to conceal the crime as an accident. The Moor is eventually captured,  tortured,  and  slain  by  Disdemona’s  relatives,  while  the  ensign  dies  during torture for another crime. What is striking about Shakespeare’s alteration of Cinthio’s grisly tale of murder and villainy is the shift of emphasis to the provocation for the murder, the ennobling of Othello as a figure of great stature and dignity to underscore his self-destruction, and the complication of motive for  the  ensign’s  actions.  Cinthio’s  version  of  Iago  is  conventionally  driven  by  jealousy  of  a  superior  and  lust  for  his  wife.  Iago’s  motivation  is  anything  but  explainable in conventional terms. Dramatically, Shakespeare turns the focus of the play from the shocking crime to its causes and psychic significance, trans-forming Cinthio’s intrigue story of vile murder into one of the greatest dramatic meditations on the nature of love and its destruction.

What  makes  Othello  so  unique  structurally  (and  painful  to  witness)  is  that  it  is  a  tragedy  built  on  a  comic  foundation.  The  first  two  acts  of  the  play  enact  the  standard  pattern  of  Shakespeare’s  romantic  comedies.  The  young Venetian noblewoman, Desdemona, has eloped with the middle-aged Othello, the military commander of the armed forces of Venice. Their union is opposed by Desdemona’s father, Brabantio, and by a rival for Desdemona, Roderigo,  who  in  the  play’s  opening  scenes  are  both  provoked  against Othello  by  Iago.  Desdemona  and  Othello,  therefore,  face  the  usual  challenges of the lovers in a Shakespearean comedy who must contend with the forces of authority, custom, and circumstances allied against their union. The romantic climax comes in the trial scene of act 1, in which Othello success-fully defends himself before the Venetian senate against Brabantio’s charge that  Othello  has  beguiled  his  daughter,  “stol’n  from  me,  and  corrupted  /  By spells and medicines bought of mountebanks.” Calmly and courteously Othello recounts how, despite the differences of age, race, and background, he won Desdemona’s heart by recounting the stories of his exotic life and adventures: “She loved me for the dangers I had passed, / And I loved her that she did pity them.” Wonder at Othello’s heroic adventures and compassion for her sympathy have brought the two opposites together—the young, inexperienced  Venetian  woman  and  the  brave,  experienced  outsider.  Desdemona finally, dramatically appears before the senate to support Othello’s account of their courtship and to balance her obligation to her father and now to her husband based on the claims of love:

My noble father, I do perceive here a divided duty: To you I am bound for life and education; My life and education both do learn me How to respect you; you are the lord of duty; I am hitherto your daughter. But here’s my husband; And so much duty as my mother show’d To you, preferring you before her father, So much I challenge that I may profess Due to the Moor, my lord.

Both Desdemona and Othello defy by their words and gestures the calumnies heaped upon them by Roderigo and Brabantio and vindicate the imperatives of the heart over parental authority and custom. As in a typical Shakespearean comedy, love, tested, triumphs over all opposition.

Vindicated by the duke of Venice and the senate, Othello, accompanied by Desdemona, takes up his military duties in the face of a threatened Turkish invasion, and the lovers are given a triumphal wedding-like procession and marriage ceremony when they disembark on Cyprus. The storm that divides the Venetian fleet also disperses the Turkish threat and clears the way for the lovers’ happy  reunion  and  peaceful  enjoyment  of  their  married  state.  First  Cassio lands to deliver the news of Othello’s marriage and, like the best man, supplies glowing praise for the groom and his bride; next Desdemona, accompanied by Iago and his wife, Emilia, enters but must await news of the fate of Othello’s ship. Finally, Othello arrives giving him the opportunity to renew his marriage vows to Desdemona:

It gives me wonder great as my content To see you here before me. O my soul’s joy, If after every tempest come such calms, May the wind blow till they have wakened death, And let the labouring barque climb hills of seas Olympus-high, and duck again as low As hell’s from heaven. If it were now to die ’Twere now to be most happy, for I fear My soul hath content so absolute That not another comfort like to this Succeeds in unknown fate.

The scene crowns love triumphant. The formerly self-sufficient Othello has now  staked  his  life  to  his  faith  in  Desdemona  and  their  union,  and  she  has  done the same. The fulfillment of the wedding night that should come at the climax of the comedy is relocated to act 2, with the aftermath of the courtship and the wedding now taking  center  stage.  Having triumphantly bested  the  social and natural forces aligned against them, having staked all to the devotion of the other, Desdemona and Othello will not be left to live happily ever after, and the tragedy will grow out of the conditions that made the comedy. Othello, unlike the other Shakespearean comedies, adds three more acts to the romantic drama, shifting from comic affirmation to tragic negation.

Iago  reviews  Othello’s  performance  as  a  lover  by  stating,  “O,  you  are  well tuned now, / But I’ll set down the pegs that make this music.” Iago will now orchestrate discord and disharmony based on a life philosophy totally opposed to the ennobling and selfless concept of love demonstrated by the newlyweds. As Iago asserts to Roderigo, “Virtue? A fig!” Self-interest is all that  matters,  and  love  is  “merely  a lust  of  the  blood  and  a  permission  of  the will.” Othello and Desdemona cannot possibly remain devoted to each other, and, as Iago concludes, “If sanctimony and a frail vow betwixt an err-ing barbarian and a super-subtle Venetian be not too hard for my wits, and all the tribe of hell, thou shalt enjoy her.” The problem of Iago’s motivation to destroy Othello and Desdemona is not that he has too few motives but too many. He offers throughout the play multiple justifi cations for his intrigue: He has been passed over in favor of Cassio; he suspects the Moor and Cassio with his wife, Emilia; he is envious of Cassio’s open nature; and he is desirous of Desdemona himself. No single motive is relied on for long, and the gap  between  cause  and  effect,  between  the  pettiness  of  Iago’s  grudges  and  the monstrousness of his behavior, prompted Samuel Taylor Coleridge in a memorable phrase to characterize Iago’s “motiveless malignity.” There is in Iago a zest for villainy and a delight in destruction, driven more by his hatred and  contempt  for  any  who  oppose  his  conception  of  jungle  law  than  by  a  conventional  naturalistic  explanation  based  on  jealousy  or  envy.  Moreover, Shakespeare, by deliberately clouding the issue of Iago’s motive, finds ever more sinister threats in such a character’s apparently bottomless and unmerited hatred and capacity for evil.

Iago will direct the remainder of the play, constructing Othello’s down-fall out of the flimsiest evidence and playing on the strengths and weaknesses of Othello’s nature and the doubts that erode Othello’s faith in Desdemona. Act 3, one of the wonders of the stage, anatomizes Othello’s psychic descent from  perfect  contentment  in  his  new  wife  to  complete  loathing,  from  a  worldview  in  which  everything  is  as  it  appears  to  one  in  which  nothing  is  as it seems. Iago leads Othello to suspect that love and devotion are shams disguising the basest of animalistic  instincts.  Misled  by  the  handkerchief,  his  love  token  to  Desdemona,  that  Iago  has  planted  in  Cassio’s  room  and  by a partially overheard conversation between Iago and Cassio, Othello, by the end of act 3, forsakes his wife and engages himself in a perverse version of the marriage ceremony of act 2 to Iago. As the pair kneels together, they exchange vows:

Iago: Witness you ever-burning lights above, You elements that clip us round about, Witness that here Iago doth give up The execution of his wit, hands, heart To wronged Othello’s service. Let him command, And to obey shall be in me remorse, What bloody business ever.

Othello: I greet thy love, Not with vain thanks, but with acceptance bounteous, And will upon the instant put thee to’t. Within these three days let me hear thee say That Cassio’s not alive.

Iago: My friend is dead. ’Tis done at your request; but let her live.

Othello: Damn her, lewd minx! O, damn her, damn her! Come, go with me apart. I will withdraw To furnish me with some swift means of death For the fair devil. Now art thou my lieutenant.

Iago: I am your own for ever.

This scene has suggested to some critics that Iago’s true motivation for destroying the marriage of Desdemona and Othello is a repressed homosexual love for Othello. An equal case can be made that Iago here completes his role as Vice, borrowed from the medieval morality plays, sealing the Faustian bargain for Othello’s soul in this mock or black marriage scene.

The play moves relentlessly from here to catastrophe as Othello delivers justice to those he is convinced have wronged him. As he attempts to carry out  his  execution  of  Desdemona,  she  for  the  first  time  realizes  his  charges  against her and his utter delusion. Ignoring her appeals for mercy and avowals of innocence, Othello smothers her moments before Emilia arrives with the proof of  Desdemona’s  innocence  and  Iago’s  villainy.  Othello  must  now  face  the  realization  of  what  he  has  done.  He turns  to  Iago,  who  has  been  brought before him to know the reason for his actions. Iago replies: “Demand me  nothing;  what  you  know,  you  know:  /  From  this  time  forth  I  never  will  speak  word.”  By  Iago’s  exiting  the  stage,  closing  access  to  his  motives,  the  focus remains firmly on Othello, not as Iago’s victim, but as his own. His final speech mixes together the acknowledgment of what he was and what he has become, who he is and how he would like to be remembered:

I have done the state some service, and they know’t. No more of that. I pray you, in your letters, When you shall these unlucky deeds relate, Speak of me as I am. Nothing extenuate, Nor set down aught in malice. Then must you speak Of one that loved not wisely but too well, Of one not easily jealous but, being wrought, Perplexed in the extreme; of one whose hand, Like the base Indian, threw a pearl away Richer than all his tribe.

Consistent with his role as guardian of order in the state, Othello carries out his own execution, by analogy judging his act as a violation reflected by Venice’s savage enemy:

And say besides, that in Aleppo once, Where a malignant and a turban’d Turk Beat a Venetian and tradu’d the state, I took by th’ throat the circumcisèd dog, And smote him—thus.

Othello, likewise, has “tradu’d the state” and has changed from noble and valiant Othello to a beast, with the passion that ennobled him shown as corrosive and demeaning. He carries out his own execution for a violation that threatens social and psychic order. For the onlookers on stage, the final tableau of the dead Desdemona and Othello “poisons sight” and provokes the command to “Let it be hid.” The witnesses on stage cannot compute rationally what has occurred nor why, but the audience has been given a privileged view of the battle between good and evil worked out in the private recesses of a bedroom and a human soul.

Analysis of William Shakespeare’s Plays

Othello Oxford Lecture by Emma Smith

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Introduction

Othello, also titled The Tragedy of Othello, The Moor of Venice, is a tragic play written by William Shakespeare in 1603 (as accepted by most scholars). The play was first staged on November 1st, 1604 and 1st published in 1622 by Thomas Walkley. The idea of comes from Italian writer’s play The Moorish Captain, published in 1565. Shakespeare molded the play and fit it according to his own age and place.

Othello by William Shakespeare Summary

The plan of Brabanzio backfires. The Senate and the duke are on the side of Othello and shows sympathy toward him. Othello is given a chance to defend himself. He explains that he doesn’t marry Desdemona through witchcraft but impressed her through his stories of travels and adventures in wars. The duke seems to be convincing with Othello’s explanation.

Moreover, he warns Roderigo of that “someone” and claims him to be Cassio. Iago, at the same time, directs Roderigo to have a fight with Cassio at the celebration by disgracing him. To ruin Othello, the 1st step should be to eliminate Cassio from Othello’s life, says Iago in isolation.

This creates a misunderstanding once more and Othello’s suspicions were confirmed. The scene catches fire when Bianca herself enters with the handkerchief chiding Cassio for making her a copy of it for him and he received it as a token of love given by some other woman. Desdemona also enters and gives Othello a letter from Venice. Othello is called back to home and instructed to appoint Cassio in place of him. This makes Othello super angry and strikes Desdemona.

Soon Othello wounds Desdemona, she cries out claiming that she has committed a suicide. Emilia returns hearing the cries and asks Othello that what happened. He tells her that he has killed Desdemona for her faithfulness that was brought into attention by Iago.

Themes in Othello

Love and the discordancy of military heroism.

As Othello was a soldier, we see throughout the play that his married life is much affected. Just as he gets married, he is sent to Cyprus. In Cyprus when he tries to enjoy his marriage, an emergency alarm is rung in the whole town, though the matter was not that serious. We see that he asks for “fit disposition” for his wife.

Othello, consider that his success in love is just because he is a successful soldier, as he wins Desdemona’s heart by telling him the stories of wars, military travels, etc.

The Danger of Isolation

More importantly, Othello is considered a man from another nation and is subject to isolation because of his physical appearance and the color of his skin. Iago manipulates the distance among character to achieve his cunning plans.

Othello Characters Analysis

Duke of venice, othello literary analysis.

The contracting trajectory of the play suggests that deleterious sentiments like distrust put a sensitive choke hold on an individual, throttling their capability to think undoubtedly and therefore averting them from performing rationally. The play distinctions the grounds in which Othello is self-assured and influential, such as the external world of an encounter, with the internal spaces in which he is less confident and able to be effortlessly operated.

The pessimism of Iago sets the platform for the suspicious tone in the second half of the play. When Othello progressively drops in Iago’s influence, just like Iago, he too instigates to speak wary remarks that boom Iago’s skeptical worldview. Othello, not only starts referring to the falseness and unfaithfulness of women but also calls Desdemona a “whore” on her face. His growing uncertainty echoes an all-consuming obsession that strengthens the fervors of distrust.

As he develops progressively paranoid, he inclines into a close to schizophrenic misperception. In an instant of no reason, he suggests that nature would devote herself is such a surveillance passion without some directions. Othello claims that he would not feel so intensely bothered if nothing had actually occurred amid Cassio and Desdemona. Consequently, since he does feel troubled, the custody of infidelity must be well started. Othello who usually is so rational, eloquent, and self-possessed, here employs a disordered reason that platforms the tone of fear that surpasses the play.

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Othello Literary Perspectives Essay Breakdown

August 26, 2020

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When it comes to VCE Literature, ‘Literary Perspectives’ is a major component of your learning and exams. If you’re studying any of the Shakespearian texts, the idea of using different ‘lenses’ to interpret 400-year-old plays seems silly and is a difficult task to approach. So today, I’m writing a plan for a Literary Perspectives essay on Shakespeare’s  Othello . The question we are looking at is:

In Shakespeare’s  Othello,  Venetian society is depicted as unwelcoming to the ‘Other’. To what extent do you agree?

Breaking-it-Down

So what does this question mean? Well let’s first look at the keywords, and what each means.

“Venetian Society” -This is the group of people depicted in  Othello . Whilst some characters like Cassio and Othello are from other city-states, they adhere to the norms and traditions of the Venetians, who live in Venice, Italy. 

“Unwelcoming” - In my essay, I consider “unwelcoming” to be active discrimination against people, with the intent of alienating them from society at large, but this is open to interpretation. 

“The Other” -This is a technical term from a few different literary perspectives. On a broad level, the Other is a person or group of people who are viewed as the ‘enemy’ or different from the dominant culture. 

These keywords are essentially what you have to include in terms of knowledge. But, what is the question? Our essay topic says “To what extent do you agree?”. You can choose to agree, or not at all, or be somewhere in the middle. Any of these options consider the  extent  of Venice’s welcomeness, but you have to use evidence, and uniquely, a literary perspective. 

My Approach

Before I even choose my contention, now is the time to decide which perspective to use for my essay. A few apply to the question and  Othello , but I can only have one. Using Feminism you could argue that the women of the play are ‘Othered,’ but because they lack lots of meaningful dialogue I think it would be hard to uncover enough evidence. Marxism would also be good and would argue the working-class is othered. The issue with Marxist interpretations of  Othello , however, is that there are almost no lower-class characters. Marxist theorists also regularly adopt feminist and postcolonial language, meaning I could appear as though I used multiple perspectives. I think Postcolonialism is the ideal perspective. The term “Other” was coined by postcolonial theorists, and Othello’s race and place in Venetian society give me the ability to flex my understanding of postcolonialism. 

So, now that I know I am writing from a postcolonial perspective, I can come up with a contention. First of all, who is the Other, according to postcolonialism? In  Othello,  it is quite clearly Othello himself, who is from North Africa, and is constantly the victim of racism, which begins to answer my second question; is Othello welcomed by Venetian Society? Well, it’s complicated, he’s an army commander and woos a Venetian woman, but he constantly has to prove himself worthy of these things. As a result, my contention will be somewhere in between complete agreement and complete disagreement with the question. 

The othered characters in  Othello  are orientalised by most members of Venetian society, and must constantly prove their material worth to maintain their agency. Despite this, the women of the play act as a foil to the racism and distrust of society.

Postcolonialism

Postcolonial theory has roots in a more modern context than Shakespeare. The colonialism of the 19th century and the decolonisation of the 20th century lead to colonised people reevaluating their lives and the role of the European colonists on a global, social, and psychological scale. When writing from a postcolonial lens, you should try to focus on some key areas. The most significant is the relationship between the colonised and the coloniser. How do they interact? What do they think of each other? The next area is the psychology of colonialism. One useful theorist here is Frantz Fanon, a psychologist living during the French colonisation of Algier. His text  The Wretched of the Earth  stated the ways that colonised Africans were mentally oppressed, viewing themselves as less than human. This is important when discussing the Other because ‘other’ represents the dehumanisation of Native lives which caused such psychological distress. A term I used in my contention should also be explained: orientalism. This term was coined by Edward Said and it explores the way the Other is viewed by the West. To ‘orientalise’ something is to portray it as something wholly different to European cultures, and exaggerate these differences. It results in non-Europeans being viewed as ‘backwards’ or ‘savage’ and justifies racist stereotypes. Other useful Postcolonial terms include: the Subaltern, who are the groups completely outside the margins of society, or people who lack any freedom; and Agency is the ability to act out of free-will and have a degree of power.

With my contention and some useful postcolonial terms, I can now plan each paragraph. I am doing three, but it is possible to do four or more. I follow TEEL (Topic, explanation, evidence, link) structure quite closely, and have given simple but punchy topic sentences for each paragraph. When structuring the essay as a whole, I try to make sure each paragraph builds off of the previous argument, almost like a staircase leading to my conclusion. 

1. Othello is treated as an outsider and is a victim of racism and orientalisation due to his cultural background, constantly reminded that he is not fully Venetian. 

My goal in this paragraph is to agree with the question. My explanation has to show that Othello isn’t welcome in Venetian society, highlighting that his blackness and European views of the Moors fits Edward Said’s theory of orientalism. I will mainly rely on Iago’s perception of Othello, and Iago as a symbol of Venice’s intoleration towards the Other. 

Evidence of his culture being viewed as ‘backwards’ or fundamentally different from Venice will support this point. Iago’s first monologue (1.1.8-33) displays his intolerance to outsiders, specifically referring to Othello as “the Moor”, rather than by his name. Roderigo also displays a racist attitude, calling Othello “the thick-lips” (1.1.71). You should try to choose linguistically significant evidence. For example, Iago’s metaphor of a “black ram is tupping [Brabantio’s] white ewe” (1.1.96-7) provokes imagery of the devil (black ram) defiling a symbol of purity (a white ewe). 

To link this paragraph, refer to the use of orientalism as a method of othering that turns people against Othello, and intends to keep him separate (unwelcome) from society.

2. Despite Iago’s representation of an intolerant Venice, Othello displays a pathway for the Other to prove themselves in Venetian society, although this proof is constantly reevaluated by the dominant culture.

In this argument I’m going against my previous paragraph, saying that Othello is welcome, but on a case-by-case basis. My explanation will include an analysis of how Othello is othered and orientalised, but still displays agency and has a role of authority in Venice. Othello is trusted, but it is a very loose trust that relies on Othello’s continued adherence to society’s rules. To use postcolonial language, Othello is the Other, but he is not a subaltern; he has been given a place at the coloniser’s table. But despite viewing himself as a permanent part of this table, the colonisers are always ready to remove his seat. 

I could use Brabantio as evidence of this, as he had “loved [Othello” (1.3.145) but quickly begins to refer to his “sooty bosom” (1.2.85) and “foul charms” (1.2.88) when he thinks Othello has overstepped his place in Venetian society by marrying a white woman. Even though Othello has proven himself as a General, the senate makes him answer for accusations based on racism and stigma. Once Othello begins to fall for Iago’s trap of jealousy, Lodovico questions the faith placed in Othello, claiming “I am deceived in him” (4.2.310).

Therefore, despite being allowed a place within the Governmental structures of Venice, Othello’s agency is constantly at risk, being welcomed for his proven talents, but distrusted for his ‘Otherness’.

3. Although Venetian society at large is unwelcoming to Othello, either through racism or distrust, Desdemona represents an attitude of acceptance towards the Other.

This argument looks at a different aspect of the question; who is the Other welcomed by? Besides Othello, Othered characters are the women and Cassio, who is from Florence. Despite not fitting into the key areas of postcolonial thought, women still have a place in this analysis, as a subcategory of the native’s relationship with the coloniser. How does a group that is discriminated against in their own society treat someone else who is discriminated against? Well, we see in  Othello  that the women treat him quite well. 

Desdemona is the obvious source of evidence for this. Her adoration of Othello transcends his colour and she accepts him as part of her Venetian world. She is unswayed by the racist commentary on Othello from those around her, such as Emilia, and instead represents the welcoming of the Other on a personal, although not societal level.

Thus, Desdemona in her own Otherness and orderliness acts a foil to Iago’s disorder and discrimination. As a discriminated against woman, she represents the acceptance of the other in Venetian society, and the unbridled trust of Othello that the men of Venice lack.

Your conclusion should include a restatement of your arguments and your contention but also look at them in another way. I usually go through my points and how they relate to each other and my contention in a logical step-by-step way, each point building on the other to reach my contention. Point 1 leads to point 2, which leads to point 3, and combined, makes my contention. 

Hopefully, this brief guide to literary perspectives in  Othello , focusing on postcolonialism, acts as a starting point for your studies. It’s about understanding the beliefs of the lens and then using this to form an argument. It certainly isn’t easy, so I encourage you to read around and practice this writing style as much as possible. 

Recommended Resources

On shakespeare.

How to Approach Shakespeare-Studying Shakespeare for the First time

Post-colonialism in Shakespearean Work by Alina Popa (2013)

On Postcolonialism

Literary Perspectives 101

List of Postcolonial Terms

Definition of Postcolonialism

Benefits of Critical Essays for Literary Perspectives Essays

The Wretched of the Earth by Frantz Fanon (2001), Penguin Modern Classics, Great Britain.

Orientalism by Edward W. Said (2003), Penguin Modern Classics, Great Britain.

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• Focused on Developing Interpretations and Close Analysis , both of which you need for your exam
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If you’ve been studying John Donne’s metaphysical poetry, you’ve probably noticed that his works are riddled with different symbols and motifs. Embedded throughout his poetry, these literary devices may seem slightly abstruse to the reader. You may find yourself asking: What do they mean? And in relation to what? Even Donne’s contemporaries failed to appreciate his poetry. The neoclassical poet John Dryden rejected Donne’s works because it “affects the metaphysics” and “perplexes the minds of the fair sex with nice speculations of philosophy, when he should engage their hearts, and entertain them with the softnesses of love”.

One thing that you should understand about Donne’s romantic poetry, is that while his stark images of compasses and spheres may seem foreign to you, they were also alien to his predecessors too. So, if you’re struggling to comprehend his enigmatic poetry, not to fear! Because John Donne’s poetic peers didn’t initially get it either.

The reason for this is because Donne refused to conform to the poetic conventions of the time. The poet emerged as an idiosyncratic in the Elizabethan era, the Renaissance. Unlike his contemporaries, he didn’t employ elaborate descriptions of symbol natural landscapes, classical myths and female beauty. The reason for this was because Donne did not believe in the one-sided love and emotional frustrations that his contemporaries tried so hard to convey in such imagery.

Donne’s poetry was so different because he rejected and even openly mocked the idea of such a high-minded religious worship in literary romance. In “A Valediction Forbidding Mourning,” Donne criticises the “tear-floods” and “sigh-tempests” of the “dull sublunary lovers.”. In a similar vein, Donne satirises the “sighs” and “tears” (The Canonisation) so prevalent in Petrarchan works.

Instead, Donne advocated for a different kind of love. He espoused a love that comprised of the Body and the Soul, which was a dominant intellectual issue in the literary treatment of love in the 1590s. More specifically, Donne embraced the balance between Platonic love and the Ovidian love.

Platonic: Platonic love is essentially love that surpasses the mere sensual and physical. It is a very spiritual concept and is based on reason, affection, respect, intellect and compatibility.

Ovidian: Ovidian love

The idea of balance derived from discoveries being made about the human body during the Elizabethan era. The Renaissance was fundamentally a time of discovery (particularly in the area of science). Elizabethans believed that elements in the body needed to be balanced,

Top Tip: When you’re analysing John Donne’s poetry and writing essays, be aware of Donne’s overarching message in his romantic poetry. Most explanations about his use transcendent relationship with his lover is thus determined by obtaining a balance between the spiritual and earthly pleasures. Most examination questions will leave room for to discuss the connection between the material and the divine world! Make sure to understand this, because this is a huge component to his poetry.

1. What are Literary Perspectives?

2. What are you expected to cover? (Literary Perspectives criteria)

3. Approaching the Task 

4. SACs, Exams, and Allocated Marks

5. How to Prepare/Improve?

What are Literary Perspectives?

This is the task that takes the longest time for all lit students to wrap their heads around. Not only is it difficult to understand what a literary perspective is but also what the essay requires you to do, so hopefully this article can help clear it all up for you!

Put simply, literary perspectives are various different lenses used for looking at all texts. Different lenses reveal, highlight and emphasise different notions in each text. To take a simple example, a Marxist might look at ‘The Great Gatsby’ how our capitalistic system underscores the motivations of Gatsby? A feminist might look towards the role of women in the text; are they only supporting characters, or do they challenge traditional gender roles?  Perhaps an experienced literature student might think this is an oversimplification, but it’s a good way to start thinking about perspectives. We will explore a little more of how to integrate and research different literary perspectives in our ‘Approaching the Task’ section.

In short, literary perspectives wants you to consider:

• How does a text change, to the reader and the writer, when we examine it through different backgrounds/perspectives?
• Can we understand the assumptions and ideas about the views and values of the text?

What are you expected to cover/do? (Literary Perspectives Criteria)

1. Structure and Cohesion

The structure of the essay and the task itself is more familiar than the close analysis essay. You respond to a topic (yes, there is only one) and you have a more “typical” essay structure with an introduction, three body paragraphs and a conclusion.

Cohesion comes from how well you can develop your overall argument. The way I like to think about it is: do my paragraphs build/relate to each other or do they have nothing to do with each other? Providing a cohesive argument and interpretation is essential, and not just for literature, this is something that will definitely be enhanced as you continue your literature journey!

2. Develop an overall Interpretation/perspective for each text

This requires a lot of research and critical readings of the wealth of criticism around the text. When you read the text, a few notable themes and ideas should be jumping out at you right away, this will be the springboard into understanding the perspectives around the text. 

For example, in ‘The Great Gatsby’, Gatsby and Buchanan are greedy and money-hungry in a world of excess and economic prosperity. Fitzgerald asks readers to consider the backbone that drives a blind devotion to the accumulation of wealth. This should remind you of Karl Marx and his comments on capitalism and communism which will then open up a large wealth of research on Marxism!

Remember, that whilst VCAA specifies that one must analyse and respond to one underlying literary perspective of the text in Section A of the exam, this isn’t as narrow as you might think. So I lied a little, sunglasses as perspectives might be a bit misleading. Because whilst you can’t wear multiple sunglasses, you can have multiple interpretations that form one perspective. It’s important to remember that what constitutes a perspective is not just one school of thought, it is your understanding, perspective and ideas. Which means that if you want to blend a Marxist and Psychoanalytic perspective, you absolutely can, BUT you need to make sure they are incorporated well together. This is because perspectives and literary ideas don’t exist in a vacuum, they work together, bounce off each other and grow over time. Greed could be something that is perpetuated by a capitalistic, market centered system but it could also be something ingrained in the human psyche. See! You’ve now turned two perspectives into one blended idea, of course it needs a lot of cultivation but you can see how these ideas begin to coexist.  

Furthermore, if you begin to understand how your text through multiple coexisting lenses’, you’ll broaden your horizon so you’ll be ready to approach any topic. In 2017, VCAA gave the topic: “To what extent is Conrad’s Heart of Darkness an indictment of colonialism?”. What happens if you didn’t choose colonialism/post-colonialism as your perspective and chose feminism instead? You would probably be freaking out in the exam. But if you understood that colonialism was motivated by the need for economic dominance (Marxist ideas) or the West’s hunger for power (psychoanalytical notions), the topic isn’t so daunting after all.

In sum, developing an interpretation is a rocky, complex and difficult ride but have patience, it will all pay off in the end. Stick around and we will give you a few tips below on how to interpret and continue to develop your interpretation! PS. Here’s a video that might be helpful if you need the extra advice: What are literary perspectives .

3. Understanding and analysis of the text through textual evidence

This should be self-explanatory at this point; everyone has been taught this since year 7: never say anything if you can’t back it up! It’s easy to get lost in your perspective when your writing, this is just a gentle reminder to never forget to use quotes and actual evidence from the text. Here’s a helpful video on how to incorporate quotes.

4. Control and effectiveness of language

Having control and effective use of language is a criteria present in both sections of Literature (and in English)! I won’t go into too much depth, but this video provides 6 great tips on improving your expression!

Approaching the Task 

So how do you best tackle the exam and the SAC?

Aforementioned, the exam will only give you one topic to respond to and your SACs will do something similar (we’ll get into this later). Here are some tips on handling lit perspectives on the exam and SAC. 

When you first see the topic, there are a few things you can do to help approach the task.

1. Highlight key words!

Again, pretty self-explanatory. It absolutely essential that you respond to the whole topic. It’s so easy to get caught up in the first half of the topic when you see a key word that you like/don’t like. But pay attention to what the topic is actually asking you to do, not just the central theme/idea that is contained within the topic.  

Find all the key close textual examples that you’d like to use. Make sure to choose ones that enhance your overall interpretation. Remember, that just because it isn’t a close analysis essay doesn’t mean you shouldn’t include close textual examples. 

Planning is a very individual task so it’s up to you to find out what works for you, but it is an essential part of the writing process. If you want a coherent interpretation, you need to know where you’re going as you write. If you fail to plan, you plan to fail!

3. Develop/Establish your interpretation in your introduction

By now, you know the importance of establishing a strong interpretation of your text. This needs to be established in your introduction (and that includes all the buzzwords of your interpretation). 

What I mean is, a lot of perspectives have a lot of jargon that is not always easy to read… Part of your job in your introduction is precisely to clarify some of these key jargons, it does not have to be super detailed, just give a simple definition of some of the key terms you are working with.

SACs, Exams, and Allocated Marks

This SAC comprises 50% of Unit 4 and in my opinion, was the most difficult to wrap my head around. The breakdown is as follows:

To simplify, it’s essentially like the literary perspective essay in the final exam; however, you need to “compare and analyse two pieces of literary criticism reflecting different perspectives”. Remember how I mentioned that one perspective can be a mix and blend of two different perspectives? Well this SAC is trying to teach you just that. You’ll be tasked with finding two different perspectives, but that doesn’t mean they have to be opposing at all.  The example from before: “Greed could be something that is perpetuated by a capitalistic, market centered system but it could also be something ingrained in the human psyche” is just one way in which you can take two different pieces of literary criticism reflecting different ideas and bring them together in this SAC.  

This SAC also asks you to research rigorously the literary discourse around the text, so that will be your first starting point. Find what you want to talk about and then figure out how to talk about it!

This may be classified as ‘Section A’ on the exam, but it does not have to be completed first, this is up to you! Each essay in the exam is worth 20 marks and will be double marked. The score that each examiner gives you will be added together, so both your final essays will be out of 40. 

How to Prepare (and Improve!) for your Close Analysis SAC and Exam

Everyone’s heard the phrase “practice makes perfect”, but nobody really tells you how to practice? What does practicing mean in a Lit Perspectives context? Here are a few recommendations and guidelines about how to ACE your next lit perspectives essay:

1. Read and Re-read your text (or re-watch your film)

You’ll have heard this hundreds of times but it’s absolutely essential, who knows, you might change your mind? Meanwhile you can find good quotes you like and potentially spot techniques or language devices you might have missed on the first or even second read! 

Each time you re-read, go in with fresh ideas and perspectives and search for examples that either contradict or support your interpretation. Critical reading is what us lit kids do!

2. Find buzzwords for your text or your perspective

Aforementioned, jargon and buzzwords populate the modern literature discourse for any text and perspective. It’s important that you have a firm grasp of these words and phrases. Here are some examples of a few:

• Communism/capitalism 
• Superstructure
• Institutions

Psychoanalysis:

• The unconscious
• ID, ego and superego

3. Talk to your friends and teachers, bounce ideas off each other!!!

Two minds are better than one. Not revolutionary, but unequivocally true. Whenever you are stuck in a rut, talk to your friends about what you think and maybe they can help challenge your ideas. Don’t be afraid to argue your point and be open to criticism, challenging your ideas will only help refine and enhance it. It’ll also make you consider some ideas you might not have thought about it. 

4. Write specific examples 

This is the same advice for close analysis (and any other essay for that essays). Practice writing doesn’t mean you have to write a full essay every time, this can be both draining for you and your teacher to mark. Plus, most of the time, you’ll make the same mistakes/the feedback will be same throughout the entire essay. Try little snippets of examples, paragraphs or introductions instead. 

5. Utilise all available resources 

Teachers are a hub of intelligence, ask them for questions, advice and feedback. Have a look at online resources including critical articles on your texts (not just lit charts articles). There are a bunch of different articles linked throughout this article but here are a summary of a few more articles written by some very smart LSG tutors!

Breaking down the VCE Literature Exam Criteria

Common Mistakes in VCE Literature

The Dont's of VCE Literature

1. Don't focus just on ideas and avoid language engagement.

Language engagement is every bit as important as ideas. Sometimes, when you get stuck in philosophical musings, you might find yourself in a place where you're spouting on and on about solipsism or the intrinsic desire for independence in the 19th century Norwegian working class. Literature essays are all about finding balance, and here, that balance means language engagement. Whether you are writing about literary criticism or a passage analysis, you have to be able to support your interpretations with textual evidence.

Often, this requires some creative thinking. You can have a lot of fun with it and the examiners like you to pick up on small details and connect it to a grander scope.

Here's an example from Jane Eyre.

“my eyes seemed as if they had beheld the fount of fruition, and borrowed beams from the lustrous ripple.”

“I was not surprised...to feel...the breathing of a fresh and fragrant breeze...The rooks cawed, and blither birds sang; but nothing was so merry or so musical as my own rejoicing heart.”

In this passage, Jane is rejoicing over her marriage proposal, but readers are led to understand that this may be a false, idealistic dream of hers. Note the patterns of alliteration – the fricative 'f' shifting to the plosive 'b' in “fount of fruition” and “borrowed beams” then again from “fresh and fragrant breeze” to “blither birds”. What could it possibly mean?

Fricatives tend to indicate freedom, whereas plosives tend to indicate an abruptness – a harsh change. Perhaps, Jane's wild, free joy is immediately followed by plosive alliteration so as to illustrate how her happiness is cut short and her dream is a false one – she will attempt to achieve freedom through this romance, but she will be abruptly and unceremoniously prevented from attaining it.

Regardless, in any passage, there are always things to talk about and little language quirks to exploit to figure out an interpretation. Start from these little details, and build out and out until you tackle your big ideas. All of these ideas should be rooted in language.

2. Don't prioritise complicated language over ideas.

Often, when you think that expressive, complicated writing takes priority over ideas in Literature, you tend to end up with flowery material that becomes more convoluted than it is effective. If you are one of those people (I know it's hard) but kill your darlings. Focus on coming up with original ideas, and express them clearly. Cut out redundancies. Be expressive in a way that is natural and in a way where you know that first and foremost, your language is accurate. Don't go around using metaphors purely for the sake of sounding intellectual when you can express something equally eloquently and beautifully with simpler, fluent text.

Remember: this is not to say that you shouldn't be expressive in Literature. In fact, writing style and the ability to write well is a fundamental component to doing well in this subject. It is just vital that you strike the right balance. This is a good lesson to learn sooner rather than later - and you'll be steering into prime territory for the exam.

3. Don't treat Literature like an English essay. Be free!

Good Literature essays generally tend to be more lively and expressive than English essays. Why? Because Literature just doesn't operate under the same criteria, and it shouldn't be treated as such.

Don't feel like putting in an introduction/conclusion? No need! Don't feel like sticking to a TEEL structure? No problem!

Your focus is creating writing that moves along at a natural, expressive pace, moving through textual evidence to broader ideas. You don't have a structure. You don't have a paragraph quota. You have free reign over a lot of how you write your Literature essays – so find out what works for you.

4. Come up with original interpretations and don't stick with popular readings.

Literature is one of very few subjects in the entirety of VCE that rewards original thinking. You don't need to go with the crowd consensus on how to read your text: as long as you have the evidence to support your reading! The examiners will reward complex, creative, and unique ideas. Every passage analysis you write should be approached with a fresh perspective – base your interpretation around the text in front of you, and not a dogmatic set of ideas that you bring with you.

5. Let the text before you provide you with the ideas, don't force your ideas into the text.

By reading literary criticism and expanding the scope of your ideas, you can apply original readings to each set of passages you have. Your essays stand out when they cover new, uncharted territory.

Literature is all about balance. If you can find it in you to balance language engagement, interpretation, and writing style, I'd say you have yourself a pretty good essay.

Remember not to fall into any of the common traps of the subject, and you'll have put yourself on solid footing to become a true literati.

Ever since literary perspectives have been introduced into the VCE Literature study design in 2017, there’s been a hell of a lot of confusion surrounding what they actually are, and what students are supposed to do with them. Due to the incredibly subjective nature of English, and especially Literature, as a subject, there is no single correct answer as to how to go about it. However, I hope to shed some light for you on how to go about this elusive component of VCE Literature.

So, what are they?

Firstly, what actually are perspectives? Well, they can be compared to a lens which you use to colour or filter your analysis of the text. You use the ideas and schools of thought that are specific to each perspective to shape, influence and guide your writing. There are a whole bunch of these perspectives, including psychoanalytical, Marxist, feminist and postcolonial. For your SAC during the year, you are going to need to use two different perspectives in your essay, whilst you will only use one in the end of year exam. Personally, while studying Elizabeth Gaskell’s ‘North and South’, I used Marxist and feminist in my SAC and narrowed it down to Marxist for the exam.

How do I begin?

The best place to start, after having read the text of course, is to read up on what other people have to say about the book. Perspectives are closely intertwined with literary criticisms; that is, other people’s analysis and interpretation of the texts. For Literature, this needs to go into a bit more depth than someone telling you whether or not they liked the text. Some people like to include excerpts of other critics’ writing in their perspectives essays. Whilst this is not wrong, it isn’t the only way to go about it either. My class simply used these critics as a way of finding inspiration for our own ideas.

I was fortunate enough to be given a whole bunch of scholarly readings and critiques of ‘North and South’ by my teacher; however, if you aren’t as lucky, scholar.google.com and the State Library of Victoria’s online database are both amazing sources for such information. You can simply search up the title of your text, and maybe the author’s name to narrow down results, and you’re provided with scores of articles. I’d recommend reading as many of these as possible, and maybe even jotting down some key points or ideas that stand out to you as important or useful as you go along.

How do I choose which perspective to use?

With all those different perspectives out there, it can become difficult to narrow all the options down to two, and then one. Whilst some texts definitely lend themselves to certain perspectives more than others, the idea is that you can use whichever perspective you want for whichever text if you try hard enough. Sure, it may be hard to find evidence to support them all, but it is expected that, as a Literature student, you are able to read deep enough into the texts that you could find what you need to write on any of them.

My advice is to choose the perspective that initially jumps out at you. When you read the text for the first, second and even third time, there will be certain plot points and themes that present themselves to you. By analysing these, you’ll be able to see what connects them, and most likely be able to relate them to a particular perspective.

How do I write a perspectives essay? As I mentioned earlier, there is no stock standard formula that all perspectives essays must follow. But there are a few basic guidelines that can help you get the ball rolling.

Perspectives essays have the same basic structure as a normal English essay, but differ in the sense that they are more focused on a particular school of thought.  

Be sure to build up an inventory of useful words or phrases unique to your chosen perspective that will help clue the examiner in to what approach you’re taking. For example, when I was exploring a Marxist perspective, I would include phrases like “bourgeoisie”, “interclass relations” and “social hierarchy”. That being said, there is no need to explicitly state, “From a Marxist perspective…” in your essay. By including those subtle, little expressions unique to your chosen perspective, you should be able to signpost to the examiner what your perspective is without making your essay seem basic. As you spend more time exploring your chosen perspective, you will become more familiar and comfortable with a range of these specific expressions.

Help! I can’t decide which perspective to choose! What do I do?

If you find yourself, like I did, stuck when choosing which perspective you want to use, there are a couple of different things to can do to try and get yourself out of this funk.

To start off, Literature is an extremely collaborative subject. It naturally opens itself to a discussion between you and your classmates. In fact, this is a great way to build more ideas and strengthen the ones you already have for all parts of the Literature study design, not only this one. I’d recommend you have a chat with the other people in your class and talk through all your options and the evidence that you could use to support them. I find that by talking in this way, my jumbled ideas tend to become a bit clearer in my head, and I’m often exposed to new ideas as well.

Secondly, your Literature teacher is, of course, another port of call. You literally pay them to teach you Literature and make sure you walk into your SAC and exam as prepared as possible, so why wouldn’t you take full advantage of their expertise? Explain to them your problem and your thoughts up until this point, and I’m sure they’ll be able to, if not provide you with, point you in the right direction towards finding some clarification.

Lastly, you need to remember that you are ultimately the one who needs to make the decision. As cheesy and cliché as it sounds, just listen to what your gut tells you. Your first thoughts are usually the best ones, so just go with your instinct and see where it tells you to go!

How Do I Do Well if I HATE the English Texts That I Am Studying?

I know that exact feeling; the feeling of giving up before it has even started. Some lucky students fall in love at first sight with their texts while some unfortunate students dread having to spend a whole year analysing their texts. If you resonate with the latter, you have probably already given up on English, or maybe you’re trying your best to stay optimistic. English is hard, but what makes it harder is when you know you hate the texts that you are studying, so how can I do well in English if I hate the texts that I have to study? Whether you hate reading and analysing texts or you just hate the specific text that you have to study, here is a guide on how to make studying and reading your texts more enjoyable!

Reading Texts

We’ve all said it before, “I’ll just read it later” or “I’ll read it right before school starts” and in the end, it all leads to the same conclusion of us never actually reading the text and by the time our SACs roll around, we ‘study’ by reading summaries of our texts and try memorising the most popular quotes. 

Do I Really Have To Read the Text?

The bad news is yes, it is highly recommended that you read your texts! (I know it can be tempting to just read chapter summaries but trust me, I have tried writing an essay without reading the text and it went very badly). However, the good news is using LSG’s ideal approach to your English texts , you may only need to read your texts a minimum of three times. In fact, if you make use of your first reading , you probably won’t have to personally read the text again! During this first reading, take your time, don’t try to binge read the entire text in a night as there is a high chance that you will not be following the plot and you’re just reading for the sake of finishing the text. There’s no need to start annotating the text during this first reading as you will most likely have a collective second reading in class where your teacher will go over the whole text in more detail by highlighting significant sections of your text. This first reading is simply for you to familiarise yourself with the text and what you will be handling during the year. However, if you still have trouble understanding your texts, LSG has a plethora of resources such as free text-specific blogs and affordable text guides that you can check out!

How Do I Find the Motivation To Read My Texts?

Some common reasons why we might procrastinate reading our texts are the sheer volume of pages we need to read; having a short attention span and; being a more visual learner. If this is the case, there are many ways to increase your motivation to read or watch your texts!

• If the text is a play (e.g. The Crucible by Arthur Miller ), watch the play while reading the script . Not only will this help you understand the stage directions in the script, but it can also help with understanding the plot if you are a more visual learner. 
• If the text has a film adaptation (e.g. In Cold Blood by Truman Capote or The Dressmaker by Rosalie Ham ), watch the film adaptation first! Knowing major plot twists and spoilers can make reading your text feel faster as you already know what is going to happen. Watching film adaptations can also help allow you to picture the plot easily and help immerse yourself into the setting and the world of the text (however, do take care when doing this as you are only analysing the text you have been allocated, not the adaptations! )
• If the text is a film (e.g. Rear Window by Alfred Hitchcock ), try to find a trailer of the film or find short clips from the film rather than watching the entire movie in one sitting; watching these cuts and suspenseful scenes may spark your curiosity which is likely to increase your interest towards wanting to watch the movie. Scheduling a movie night with friends and family is also a great way to make watching the film more fun. 
• If the text is a collection of poems (e.g. William Wordsworth Poems selected by Seamus Heaney by William Wordsworth ), listen to the poem while reading the poem. Not only will this help you to embody the poet’s mind, but it can also help you recognise the rhyming schemes and rhythm patterns that may not be noticeable at first glance.

Check out How To Recharge Your Motivation Over the School Holidays for more tips!!

How Do I Make Reading My Texts More Enjoyable?

• Create goals: Space it out, we do not want to get burnt out! Organise goals and do not attempt to read the book all within a night! For example, you could aim to read one chapter a day. Not only will this hold you accountable, but it will also make reading less daunting and overwhelming.
• Rewards: Who doesn’t love rewards? Reward yourself after reaching your reading goals, this could be as simple as taking a break after reading or reading a book that you like. 
• Audiobooks: When you don’t feel like physically reading, download audiobooks of your texts and listen to them while you’re commuting or while you’re doing your chores.
• Environment: Create the perfect reading atmosphere! This is quite subjective, however, if you’re struggling to find this niche, here is a step-by-step guide to ‘romanticise’ reading:
• Put your devices away! If you’re opting to read an ebook, you can also turn your notifications off. We do not want to be distracted and procrastinate!
• Find a comfortable place to sit with good lighting.
• If you’re in the mood for a sensory experience, light a scented candle or make your favourite beverage to sip along while you are reading. 
• If it helps, you can pretend that you’re reading at an aesthetic library, or your favourite café, or a serene park…the options are endless. 

Studying Texts

It can be even harder to find the motivation to study for the texts that you hate as you’re probably looking for ways to limit the amount of physical contact you make with the text or ways to save time and study less for English but still do well in the subject.

How Do I Save Time When Reviewing and Writing Notes on My Texts?

Tip 1: write notes based on themes, writing style & characters instead of chronologically .

Often, students will take notes chronologically based on each chapter, however, this is not helpful at all. In your SACs and exam, you will not be writing paragraphs based on each chapter, instead, you will likely be given one of the five types of essay prompts that require an in-depth understanding of the themes, writing style ( such as symbols and motifs ) and characters of the text. Therefore, I recommend writing down notes and quotes based on themes, specific writing techniques and characters.  

For example, before class, you could create a separate notes page on each prominent theme of the text. When your teacher highlights significant sections of the text, you could then write down these notes into the relative theme document. For comparative texts, you can also create a comparison table based on overlapping themes which will allow you to view the comparisons more easily. If you’re a visual learner, colour coding your notes according to different themes or characters can make it easier to find later on when reviewing your notes. If you do this from the start, you will spend less time re-reading the text and organising your notes which will hopefully reduce the amount of time you spend studying. 

Tip 2: Write Down Page Numbers Next to Quotes and Notes

No, you do not have to memorise page numbers for your final exam or SACs, however, writing down page numbers will help you save time when reviewing your notes as you can just flip over to the page rather than having to re-read the text to find the specific quote or notes. It may seem rather annoying having to write down the page numbers all the time, however, your future self will thank you!

How Can I Find the Motivation To Write on the Text That I Hate?

Tip 1: find out what you hate and like about the text.

We all experience writer’s block, especially when we have no passion for the text we are studying. However, assuming you have read the text, you would probably have unique opinions on the text. Firstly, find out what you hate about the text . 

• Do you hate a specific character in the text? Why do you hate this character?
• Do you hate the writing style? What is it about the writing style that you hate?
• Is there a specific theme you felt the text did not address properly?
• Was there a specific scene or part of the text that frustrated you?

Once you find out what you hate about the text, find an essay prompt related to the topic you hate and practice writing an essay about it! Use this as a chance to lowkey rant, discuss or debate about the topic. Not only will this help you develop your inner author voice, but it will also provide you with inspiration to write. On the other hand, you can also find out what you like about the text (hopefully, you don’t hate everything about the text) and practice writing on a topic related to this. For example, I hated studying The Crucible due to the portrayal of women in the text. However, when analysing the text, I realised that the portrayal of women in the text was simply a reflection of the conservative and insular society of Salem which became a theme that I liked discussing. 

Tip 2: Put the Text in Context

Keep in mind that the texts that you have been allocated all have a specific aim and purpose such as serving political commentary about a significant historical event, critiquing a specific characteristic of conservative communities or simply a discussion about human nature. Throughout the text, there will be many literary techniques, characters and events that will be used to bring these significant themes to life. Therefore, regardless of whether you like the plot of the text or not, the themes that you will be studying may be more of interest to you. If this is the case, researching the background and the world of the text may help you gain a deeper understanding of these themes which is likely to increase your motivation to write as you will be able to apply your knowledge about the text such as quotes, characters and events to these themes. 

Tip 3: Utilise Your Strengths

By focusing on your strengths, you are likely to increase your confidence and consequently, your motivation to write! Therefore, if you are an expert at analysing literary techniques, or if you have mastered writing about characters, use these strengths when you are writing. Not only will playing at your strengths make writing less difficult, it may also help overshadow your weaknesses. 

Overall, whether writing essays is your strong suit or not, LSG has many general essay writing tips (for example, check out this guide on essay planning ). I also recommend checking out some of the comprehensive LSG guides such as ​​ How To Write A Killer Text Response and How To Write A Killer Comparative which may give you a head start on writing your essays. 

Unfortunately, there aren’t many choices in English and it is quite likely that you will end up with a text that you dislike. However, it is still possible to do well in English while studying texts you hate! Hopefully, these tips can make reading and studying your texts much more enjoyable and consequently, make your English experience much more pleasant. Endure the pain now and you'll be finished before you know it!

Good Literature essays generally tend to be more lively and expressive than English essays. Why? Because Literature just doesn't operate under the same criteria, and it shouldn't be treated as such. 

Studying both English and Literature in VCE is an interesting undertaking, and I’ve heard very mixed opinions about whether or not it’s a good idea. For me it was a no-brainer; I’d always loved English so why wouldn’t I take advantage of the opportunity to study two English-based subjects? Looking back on my VCE experience now, and comparing my experience of studying each subject, I can see that they are each very different. However, if you’re going to study both, don’t expect that each subject will unfold in isolation, because your work in one of these subjects will undoubtedly impact upon your work in the other - even if, like me, you complete them in different years. So if you enjoy English I would 100% endorse studying both VCE English and VCE Literature, but being an English-nerd I still think there are benefits to analysing the process of studying this dynamic-duo back to back.

The Content

At the beginning, I assumed that Literature and English would be fairly similar in terms of studying and writing. It’s all about reading books and writing essays, right? Well, whilst this is essentially true, it turns out that the process for each subject is quite different. I studied year 12 Literature first, completing it in 2017 as a year 11 student, and as my only unit 3/4 subject for that year it was the focus of a lot of my time, energy, and creativity. What I loved about VCE Literature from the beginning was the departure from formula; the impetus to “dive right in” as my teacher always used to say. Instead of worrying about how many sentences your introductions and conclusions have to be, in Literature you can simply get straight into the analysis and see how far it takes you.  So, if you’re the kind of person who needs to stick to that body paragraph structure acronym that has always served you so well, then when you first start studying Literature it might be a challenge to loosen up. Or, if you’re like me and can’t shake the compulsion to write paragraphs that take up double-sided sheets of paper, you might find this subject to be a welcome respite from some of the restrictions of English tasks.

Although English is often viewed as the more ‘basic’ of the two, in many ways I found it more difficult once I hit year 12. Having just finished VCE Literature, shifting my focus back to English definitely wasn’t as seamless as I might have expected. In comparison to my Literature essays where I would base paragraphs around in-depth analysis of a few of Gaskell’s sentences, my English text responses felt stunted and forced – English isn’t really compatible with tangents, and so it was difficult to train myself to be expressive whilst also being concise. In my opinion, the most daunting of the year 12 VCE English SACs is the comparative, and this is where my lack of flow was most evident. Being accustomed to delving into complex discussion of the details of my Literature texts, it seemed impossible to provide insightful analysis of two texts simultaneously, whilst also comparing them to each other and also keeping my essays well structured. My first comparative practices sounded somewhat awkward when I read over them, and I just felt like I never really knew what I was trying to get across. This provoked me to be frustrated with myself, and then my frustration distracted me from writing, and then my essays read even more contrived; you get the idea.

So, how do you push past this sense of friction between the study of English and the study of Literature? Well, I think the best way to reconcile the conflicting approaches is to realise that each subject brings out different strengths, but these strengths can be applied to either type of study. Yes to a certain extent English is supposed to be formulaic, but you can use the analysis skills you learn in Literature to enhance your English text responses and give your work a point of difference. On the flip side, the structure you work with in English can be applied to Literature to ensure that your essays always exhibit direction and purpose, even if they encompass a broader range of discussion. Once I realised that I didn’t have to discard all of my Literature skills and start writing my English work exactly the same as everybody else, I began to develop a more fluid, balanced writing style that enhanced all of my English tasks – even the comparative.

Let’s start with the obvious comparisons between the English exam and the Literature exam. Firstly, the English exam encompasses three essays in three hours (with 15 minutes reading time), whilst Literature is only two essays in two hours. The English exams tasks include a text response to a prompt, a comparative text response to a prompt, and a language analysis. The Literature exam involves a passage analysis, and a text response to a prompt influenced by a literary perspective. Where in the English exam you are given a choice of prompts for each text choice, whereas for both sections of the Literature exam only one choice is available for each text. Whilst both exams involve some supplied material, in Literature this material is a passage from one of the set texts, however for the language analysis section of the English exam this is completely unseen material created by the VCAA. For me, this felt like a very significant difference, because there is no familiar material (i.e. passages from the texts) to rely on in the English exam; if you get lost you can’t latch on to anything except what you have memorised.

Personally, I think that the study strategies I utilised for each exam were fairly similar, although obviously geared towards different tasks. I took in depth notes on my texts, planned essays, memorised quotations and explored their significance, timed my practice essays etc. My actual approach to each exam was also similar, for example I made sure to allocate one hour for each different task and did all of my planning mentally during reading time. So although obviously everyone’s study and exam techniques are different, this shows that your own personal strategies that you develop can be applied to both the Literature and the English exams. However, despite the continuity in this sense I still found myself feeling very different coming out of my English exam than I had leaving my Literature exam the year before. Where after the Literature exam I had been content with the knowledge that I had showcased the best version of my abilities, after the English exam I felt much more unsure and ready to believe the worst about the outcome. This particular comparison is of course specific to every individual person, however I think it could have something to do with the knowledge that most VCE students study English and the difficulty in believing that your work could stand out from the work of 40,000 others.

The Results

In the end, I achieved very different results from these two subjects, with English being my highest study score and Literature being one of my 10% contributions. It seems to be a general consensus (or at least it was at my school) that it is more difficult to crack the high 40s in Literature than in English, and whether this is true or not it definitely impacted my expectations of my results each subject. However, that said, after being slightly disappointed with my Literature results in year 11 I was not overly optimistic about doing much better in English. When talking about this with my Literature teacher, she told me to “remember that English is marked very differently to Lit, so don’t think you can’t get a 50” and I think this is very solid advice. Whilst you might feel you were equally skilled at both subjects, this doesn’t mean you will receive equally ‘good’ results’, but don’t let this disparity discourage you because, as we have discussed throughout this post, when it comes to Literature and English one size does not fit all.

For an overview of the Literature Study Design as a whole, be sure to check out our Ultimate Guide to VCE Literature . 

What’s Changing?

The largest change is that the Literary Perspectives area of study has been removed and replaced with an area of study called ‘Developing Interpretations’. Literary Perspectives introduced you to literary theories like marxism, feminism and post-structuralism. These might still be relevant if your teacher decides to use them, but for the most part, they have been cut. 

Developing Interpretations (Unit 3.2) is about differing opinions of texts. You are being asked to develop an interpretation of your text and to use the evidence available to you to support that understanding of the text. This process is difficult, and TBH is something that teachers, tutors and scholars of literature (and humanities) take for granted. It requires understanding the text, its form, its context, the author, the views and values, the aspects of texts and (if that isn’t enough) to be able to understand how they all connect together , before writing an essay that makes your understanding of all of that stuff coherent.

This new AoS also asks you to take your interpretation and consider it alongside another interpretation, because you get to read a supplementary text ! This supplementary text is heavily implied to be a piece of academia. The supplementary reading is supposed to offer an interpretation of the text, and you need to consider how that changes your interpretation. Does it? Was an idea fundamental to your interpretation debunked? Was there something you overlooked? Does the addition of a theoretical framework (like post-colonialism or feminism) impact your understanding?

What Do I Need To Do?

According to the study design, Developing Interpretations involves ‘develop[ing] interpretations of a set text informed by the ideas, views and values of the set text and a supplementary reading’. This means there are two key sections , first is the development of an interpretation, and second is the reconsideration of that initial interpretation. Let’s look at each section in turn:

Developing an Interpretation

2008’s Ironman, directed by John Favreau, is the story of a billionaire weapons dealer who, after a life-altering event, dismantles his weapons-manufacturing business in order to use his genius-level intellect to construct a suit of armour and become a superhero.

Ironman demonstrates the evils of the American war machine whilst showing that moral individuals are capable of redirecting resources and energy into genuine ways of improving people's lives.

Let’s not pretend that Ironman is the pinnacle of modern storytelling. But what we can see in the statement above is an example of an interpretation. We can offer an opposing interpretation that’s a bit more critical:

Ironman demonstrates, falsely, that the altruism of one ‘good guy with a gun’ can compensate for a systemic ravaging of the Middle East by the American colonial war machine.

Both of these interpretations deal with the same text and the same aspects of that text. They both comment on Ironman ’s exploration of weapons-dealing, and the protagonist’s response to that issue. The first interpretation is - arguably - the message the screenwriters, Fergus, Ostby, and Marcum intended for us to take away from the story. The second interpretation is considering the efficacy of that take-home message: Is Ironman actually the good guy, or is there a larger systemic issue at play, beyond the morals of one man?

To come up with an interpretation, you must consider views and values , aspects of texts and the context the text was created in. Aspects of texts like genre and characterisation demonstrate how the author views a certain issue or idea, and these issues or ideas are usually aspects of the author’s context. At this stage of developing an interpretation, VCAA wants you to focus on close analysis of the text, so ask questions about how a certain motif might reveal something about the author’s views and values. Or, how does a minor character relate to a historical figure that is contextually relevant to the text? For an excellent example of such an analysis and interpretation, I highly recommend the Coraline Bug Theory by Karsten Runquist (YouTube). 

For an in-depth look at how to combine views and values, textual features, and context, check out LSG’s A Killer Literature Study Guide .

The Supplementary Reading 

So, you’ve developed a unique and plausible interpretation of your text using the evidence available to you, the context , and the author’s views and values . At this stage, you might have a SAC where you defend your interpretation. No matter how the SAC is done, after developing the interpretation, you will be given a supplementary reading . This can take multiple forms, being a piece written by your teacher, an ‘explication of a literary theory’ or an academic article. The ‘explication of a literary theory’ basically means a work explaining a literary theory, like Marxism, feminism or post-modernism.

After you have read and considered the supplementary reading in class, you will have to see how your initial interpretation holds up, and either adapt or defend your interpretation in light of the new information. If you’re struggling to rethink your ideas, try these steps:

1) Free your mind, dude. Be open to the possibility that you were wrong. Be willing to abandon ideas that you thought were really interesting. They probably were really interesting and different, but unfortunately, they just might not hold up in light of the new piece.

2) Rebut the article. If your ideas are being completely dunked on by the article, can you dunk on the article? Don’t be egregious, but there may be things where you feel that your argument is stronger, why? What has the author missed about a character or event that actually helps to better support your argument?

3) Make room for nuance. You might have an article that mostly agrees with you but helps you to see where you might have been too absolutist. Sure, the text’s views and values are pretty homophobic, and your supplementary reading agrees, but maybe the text is showing that homophobia in a way you hadn’t initially realised.

Pro Tips for Reading Academic Articles

One of the options for the supplementary reading is academic articles (also known as critical readings/articles/essays). These are the kinds of essays that incredibly well-educated and fancy university people with monocles write, and as such, they can be quite difficult to read, especially if they are new to you. Because academia is likely new to you in Years 11 and 12, we want to give you some pro tips for reading and understanding these articles, which will help you all the way into university!

When you’re first given your supplementary reading, it can be really daunting. The most important thing to remember here is to take it slow. You will not understand it immediately, and no one is expecting you to. Here are some cheat codes to be able to understand academic articles faster.

1) Read the Whole Thing

Front to back. Including and especially the abstract, introduction and conclusion. You will not understand a word, but maybe some things will jump out; nice phrases or sentences that kinda feel like something. It might be as simple as a statement like: ‘Mina Harker not only escapes the fate of the other women: she is also largely responsible for the capture and ultimate destruction of Dracula.’ (Senf 1982, p. 34). This statement isn’t Senf’s entire point in the article, but it does help me to interpret Mina’s character in Dracula .

While you’re reading, look up words you don’t understand and write their meaning in the margin. Whilst some might suggest doing this on a second read, it really makes no difference, so you might as well get it out of the way here.

2) Re-read the Introduction and Conclusions

And read them closely. Where is the author commenting on previous peoples’ work, and when are they making their own argument? The introduction usually does a few things:

1)  Introduces the text

2) Does a literature review wherein the author looks at previous works of academia and considers their merits

3)  Introduces their main argument and their supporting arguments

The conclusion does what your conclusions should be doing! It restates the core arguments and supporting arguments, connecting them in a way that leads to a clear interpretation.

Reading the intro and conclusion helps you understand the whole piece because it’s the same arguments without all the extraneous wordiness and verboseness of the actual body paragraphs. It lacks some nuance and the logic behind the arguments, but it signposts what the author is actually saying.

3) Try to Summarise the Author’s Interpretation

After reading the article a couple of times and focusing heavily on the intro and conclusion, discuss with your classmates what they got from the piece. Try to state or write down the core argument of the author and the ways they defend that contention. This is a practice that you will do all the way to university, so it’s worth getting some practice in! Most articles use the same structure you do at school, which is an introduction, three arguments and a conclusion. It’s just that those three arguments are a lot more complex and long-winded. If you’re lucky, the author has used subheadings to separate the arguments.

4) Read More Academic Articles

This is a little bit of a cheat, and definitely more effort, but trust me: it pays off . The best Literature students are well-read. Reading fiction (especially the classics) allows you to see how your text fits into the wider literary world. Things like genres, literary movements, historical ideas and pop culture references can only be gleaned from a text if you have the knowledge of other texts: It’s really hard to watch the later Avengers movies without having seen Ironman ! Same goes for Literature. Academic authors do the same thing - How does Dracula compare to Edgar Allen Poe? How does Alias Grace fit into a wider feminist discourse in the late 90s?

Reading more academic articles gives you a way to practice engaging with academia and to repeatedly expose yourself to the language, forms and ways of thinking that are common in academics. If the best Literature students read loads of fiction, imagine what reading loads of university-level academia could do!

The SAC for Developing Interpretations is a little bit weird. It’s worth 50% of Unit 3, but is split into two parts:

• Part A: An initial interpretation of the text’s views and values within its historical, social and cultural context.
• Part B: A written response that compares/interweaves and analyses an initial interpretation with a subsequent interpretation, using a key moment from the text.

Your teacher might do the two parts together, or separately. In any case, Part B will include the use of a passage from the set text that you must engage with. How does the passage help you to interpret the text, and how does that interpretation agree or disagree with the interpretation presented in the supplementary reading? Here are some of the possible ways that your teacher may decide to design the SAC:

1) Part A and Part B are assessed in separate tasks

Part A is assessed after sustained study of the set text. Students are invited to explore a key idea or value in the text and consider how the text has presented and represented that concern or value. They could, for example, explore the ways a text has presented and represented isolation or power or marriage.

Part B is assessed after students consider the supplementary reading. Students revisit the key concern or value through a passage from the set text and provide an enhanced interpretation informed by the supplementary reading.

2) Part A and Part B are assessed as one task

Students are provided with a passage from the set text and a specific question that relates to one of the text’s key ideas. Students engage with a close reading of the passage based on the key idea, offering an interpretation drawn from the language of the text and from the views and values of the text. They then build on that initial interpretation by engaging with the ideas and/or position they have considered through the supplementary reading.

The most difficult part of the SAC for this new AoS is balancing your interpretation, the textual evidence and the alternative interpretation of the supplementary reading. It is vital that if you are doing Literature this year, that you know your 3.2 text like the back of your hand, and that you practice writing loads and loads. It is also worth trying to make your interpretation incredibly specific so that you can go in-depth into one idea, rather than simply skimming over 3 or 4 big ideas. 

Check out our Developing Interpretations SAC Guide: Interpreting Alias Grace blog post for more. Even if you're not studying Alias Grace, this blog post will further clarify what to expect from the Developing Interpretation SAC.  

Going Forward

I highly recommend that you begin engaging in interpretative and analytical exercises that you can apply to your everyday life. As a Literature student, there is an assumption that you’re interested in Literature (obviously!), film and visual media, history, current affairs and even visual arts. In the wonderful age of the internet there are unlimited free resources that can support your engagement with these fields in interesting ways. I like to say to my Llit students that analysis should be something you can’t turn off - you should be watching TV and disassembling the ways in which Love Island manufactures drama and keeps you engaged. Why does this advertisement make me want to eat KFC? How has this author made me cry after this character’s death? To develop strong interpretations of literature, you need to be cognizant of the history, construction and theories of literature, and so engaging with as many texts as possible supports your ability to recognise things like genre, historical literary and artistic movements and emotionally manipulative language. 

These resources should help you see how skilled literary and media critics analyse fictional worlds.

Death of the Author by Lindsay Ellis (YouTube). Discusses authorial intent and whether we can view ‘the art without the artist’. Ellis also has fantastic interpretations of film and TV.

Nerdwriter (YouTube). Likely one of the best examples of closely analysing text. Check out his video on Shakespeare’s Sonnet 116 , and on how Donald Trump and Bernie Sanders answer questions.

literarydevices.net . Literally my favourite website. A database of every imaginable literary device, how they function, and popular examples. Invaluable for the lit student.

Databases. Go to your school library and ask your librarian what Arts and Humanities databases your school has access to. JSTOR, ProQuest and AusLit, are all databases that host the kinds of articles you should be exposing yourself to. If you are tutoring with Lisa’s Study Guides , then your tutor may be able to help you gather resources from some databases.

Film and Television

Pop Culture Detective (YouTube) especially his videos on the Marvel Universe and the status quo , and misogyny in the Big Bang Theory (CW: discusses sexual assault).

Super Position by David Grueber (Article). Referenced in Pop Culture Detective’s MCU episode and interprets the narrative form of the superhero genre.

The Coraline Bug Theory by Karsten Runquist (YouTube). An excellent example of developing an interpretation of a text and using a minor textual element to explore that interpretation.

CineFix (YouTube) especially their “What’s the Difference” and “Top 10” series. Although presenting film ‘for the masses’, their Top 10 lists constantly consider how an idea (like family or cars ) contribute to the messaging of the film.  

So there’s approximately a month to go before the Literature exam. Nervous? Confident? Over it?! You might be thinking that they best way to study up until the exam is to just churn out essays after essays after essays. This is a common misconception, and may even hurt your chances for the exam. You want your essays to be ‘fresh’ with original insight, not stale pieces that sound like you’ve written this a hundred times and you’re getting bored. Here are a few tips on how to study for the exam while still keeping your mind activated about Literature!

Critique critical commentary

Google critical commentary on your text. You might pick up a new insight or perspective that you’ve never thought of. These can help you inform your own original and individual interpretation of the text. It is important to note that while reading critical commentary is incredibly useful in providing ‘clever’ interpretations, examiners are really looking for your own interpretation – not a regurgitated version of other people’s analyses. Rather than passively reading critical commentary, critique it yourself! Acknowledge and file away its good points, but also form your own stance with whether you agree or disagree with that point of view. Ask yourself why that is your perspective. Developing this critical analysis skill is extremely valuable, and will put you in the mindset for the exam to provide your own original interpretation that  pushes the boundaries and the envelop e.

Choose random passages and annotate

Close your eyes and pick a random a couple of passages from your text. Photocopy them, print them, however you like, but the most important thing is to spend time annotating them in as much detail as possible. Focus on analysing the language for how the author constructs the text to create meaning. Note sentences that can link to the wider text. This really forces you to analyse the most random passage in the text in extreme detail, which you might have skipped over in class or in your own reading, because it might not have seemed important at the time. Who knows, the exam could throw in a surprise passage that students might not have thought to study in great detail, and you have because you’ve been analysing passages at random – not just the major key events!

Examiner reports and  word bank

Look through VCAA examiner reports for sample excerpts from high scoring responses. Highlight words and phrases that sound ‘good’ – and adapt them to use yourself! There’s nothing wrong with drawing inspiration (stealing) from the examiner reports essays… after all they’re there for you to learn from. Key: you’re drawing inspiration from words, not ideas or sentences – otherwise that’s just plagiarism and won’t help at all. Create a word bank of vocabulary that suit your texts, which can be a great prompter when you’re struggling to think of a word that accurately expresses on paper what you want to say in your mind.

Timed conditions

The biggest issue with every literature student in the exam is  timing . There’s always so many things you want to write and include, that it is simply not possible to include everything. Time yourself. Practice writing in timed conditions. Be disciplined with your time – going over time for the first essay to include maybe one more good point, is to sacrifice finishing your second essay.

Exams are without a doubt a stressful period of time for all VCE students, and it can be easy to get caught up and overwhelmed with expectations, wanting to prove yourself and balancing the workload of your other exams. Find time to do small things to benefit yourself for the exam without compromising your mental power (after a very long marathon). Good luck and believe in yourself!

The idea of critical lenses in literary perspective essays can often be tough to fully grasp. Is sticking to just one ok? Are there enough examples in the text to support a purely feminist viewpoint? Or a Marxist one? What about post-colonialism? Sometimes it’s difficult to find a clear through line, especially when the concepts you’re attempting to discuss are so complex.

Luckily when it comes to Shakespearean texts, Twelfth Night in particular, a lot of people throughout history have already studied these ideas and critical lenses, and there are many more resources out there for you to utilize than you might think.

Thus, we are faced with the extremely helpful nature of published critical readings. These critical essays are pieces often published by university professors or scholars which offer an in-depth analysis and examination of a given text. While much of the language is complicated and a bit overwrought at times, the content within the essays can give you helpful ideas and can help you gather a repertoire of vocabulary and evidence for your own literary perspectives essay. In fact, if you type in “Twelfth Night critical readings” into your google search tab, there will be pages of valuable content at your disposal.

Literary perspectives

For instance, the critical essay Rethinking Sexuality and Class in Twelfth Night by Nancy Lindhiem, gives insight into both the Marxist and the queer lens.

Here is an extract from Lindhiem’s reading in which she discusses the idea of “androgyny” and sexuality (noted specifically in the bolded words):

“While Viola is barely male except in attire, the dual aspect of Sebastian’s androgyny is carefully explored. The Elizabethan audience’s first, external, impression – he looks like his sister! – is reinforced ‘internally’ in his conversation with Antonio. His exquisite sensitivity to the quality of his friend’s feelings and the obligation it lays upon him might well be seen as a woman’s trait. ”

After reading Lindhiem’s discussion of the “androgynous” twins within the play and how this displays a disparity between gender identity, this student then decided to expand on in a similar idea in a part of their paragraph below (queer lens). In the first part of the sentence, the student outlines the idea of androgyny (shown in bold) specific to the character of Viola. Later on, the student also explores the idea of different behaviours contributing to certain gender traits much like Lindhiem’s notation of it in the above paragraph (shown in bold in the last sentence), however concludes on a broader outline of sexuality as a whole, rather than focussing on just female traits.

Viola’s mediatory role between Olivia and Orsino’s households, coupled with her androgynous performance as a woman playing a man (adding further confusion to the Elizabethan stage convention of a male actors playing women on stage) evokes a form of genderbending and identity perplexity that pervades the play’s dramatic trajectory and opens up what is possible, if not overtly permissible, on a spectrum of sexuality.

Another way of making use of these critical readings is to draw from some of their sophisticated vocabulary. The following is an example of how a student was able to adjust and expand her vocabulary specific to their chosen lens by reading critical essays.

After studying a couple of feminist and queer critical essays to Twelfth Night , the student highlighted some repetitive language and terms used within the essays, and was able to use them within their own essay.

Casey Charles’ Theatre Journal exert Gender Trouble in Twelfth Night uses the phrasing

“ the phenomenon of love itself operates as a mechanism that destabilizes gender binarism and its concomitant hierarchies”.

The student went on to use the term gender binarism in one of her essay’s sentences:

In all, Twelfth Night delineates the true fluidity within gender binarisms as well as the way in which societal structures are enforced and reiterated…

Alternatively, the critical essay Gender Ambiguity and Desire in Twelfth Night by Maria Del Rosario Arias Doblas makes use of the terms “homoerotic” and “heterosexual” throughout its text - “homoeroticism residing in theatrical transvestitism… and homosexual allusions and so on pervade the play to create the “most highly intricate misunderstandings”’ - thus outlining the type of high-level language specific to a queer reading of the play that the student was able to implement in their own work:

In fact, Shakespeare oscillates between reinforcing patriarchal ideology and heterosexual language, and the deconstruction of such romantic ideals, simultaneously closeting and disclosing the queer possibilities typical to conservative societies that use violence to repress homosociality and police the safe expression of homosexual exploration within heterosexual norms.

As you can see, the student’s language is now specified to the type of lens they are using in their literary perspectives essay, and is also of a high register.

External or Contextual references

Another benefit of going through critical readings is the external or contextual references they make. An example of this is in Rethinking Sexuality and Class in Twelfth Night by Nancy Lindhiem, where the author makes reference to Narcissus, a character from Metamorphoses – a Latin narrative poem from 8 AD:

“For all the likelihood that both Olivia and Sebastian are seduced by a visual perception, we probably feel that Olivia succumbs mainly to Cesario’s way with words.9 Several critics have commented on the allusion to Ovid’s Echo in Cesario’s ‘babbling gossip of the air’ (1.5.277)”

Noticing this reference as a motif in many other critical readings too, this student decided to insert it into their own essay here:

These central relationships therefore reapply the idea of self-reflexivity while blurring the structured boundaries of identity stability, central to the Narcissus myth of which Echo from Ovid’s Metamorphosis forms a part ; “a very echo to the seat/ where love is throned” invokes a doubling motif, as well as the troubling foundation of representation over reality.

See how the student was able to discuss it in their own way? Referencing external texts in your literary perspectives essay can prove very useful if done once or twice, as it demonstrates that you are able to apply the values within the chosen text to wider elements of society and culture.

Getting started

One of the most efficient ways of going through these sorts of essays (which are often quite elaborate and at times difficult to understand fully) is to print them out, grab a highlighter and pen and skim through as much as possible. Highlight words, terms or phrases which spark your intrigue, or ones you feel you may be able to manipulate as evidence to support your own essay.

Overall, reading as many of these expert-written critical essays as possible can be extremely beneficial in developing a greater understanding of the critical lenses, the ideals and context of the Elizabethan theatre, and the way both dialogue and staging can be used as evidence in your own essays.

The more you know about the play, the more you’ll be able to write about it. So, get reading!

Links to the readings:

Rethinking Sexuality and Class in Twelfth Night, Nancy Lindheim

Gender Ambiguity and Desire in Twelfth Night, Maria Del Rosario Arias Doblas ‍

Gender Trouble in Twelfth Night, Casey Charles

The big trap students doing both English and Literature fall into is the habit of writing Close Readings like a Language Analysis essay. In essence, the two of these essays must tick the same boxes. But, here’s why analysing texts in Literature is a whole different ball game – in English, you want to be focusing on the methods that the author utilises to get their message across, whereas Literature is all about finding your own message in the writing.

In a  Language Analysis  essay, the chances are that most students will interpret the contention of the writer in a similar fashion and that will usually be stated in the introduction of the essay. Whereas in Literature, it is the formulation of your interpretation of the author’s message that is what really counts. In a typical Language Analysis essay, the introduction is almost like a summary of what’s going to be talked about in the next few paragraphs whereas in a close reading, it is the fresh ideas beyond the introduction that the markers are interested in.

For this reason, every Close Reading that you do in Literature will be unique. The overarching themes of the text you are writing from may be recurring, but for every passage from the text that you are given, what you derive from that will be specific to it.

From my experience, this is what stumps a lot of students because of the tendency is to pick up on the first few poetic techniques used in the passages and create the basis for the essay from that. This usually means that the student will pick up on alliteration (or another technique that they find easy to identify) used by the author and then try and match it to an idea that they have discussed in class. Whilst this can be an effective way to structure paragraphs, many students aren’t consciously utilising this approach and instead are doing it ‘by accident’ under time pressure, or a lack of understanding of other ways to get a point across.

In general, there are two main approaches that can be followed for body paragraphs in a literature close reading analysis:

1. Start wide and narrow down.

What does this mean? So, as I mentioned before, each of your close readings should be very specific to the passages in front of you and not rehearsed. However, it’s inevitable that you are going to find some ideas coming back more often. So, after reading through the passage, you will usually get a general understanding of the tone that the author has utilised. This will indicate whether the author is criticising or commending a certain character or social idea. Using this general overview to start your paragraph, you can then move closer and closer into the passage until you have developed your general statement into a very unique and clear opinion of the author’s message (with the support of textual evidence of course).

This is the essay approach that is generally preferred by students but is often used poorly, as without practice and under the pressure of writing essays in exam conditions, many students revert back to the old technique of finding a literary device that they are comfortable with and pushing forth with that.

The good thing about this approach is that when you understand the general themes that the author covers, you will become better and better at using that lens to identify the most impactful parts of the passage to unpack as you scrutinise the subtle nuances of the writer’s tone.

2. Start narrow and go wide.

You guessed it - it’s basically the opposite of the approach above. However, this is a more refined way of setting out your exploration of the author’s message as opposed to what was discussed earlier (finding random literary devices and trying to go from there). Using this approach does not mean that you have no direction of where your paragraph might end, it just means that you think the subtle ideas of the author can be used in culmination to prove their wider opinion. For example, if you get a passage where the author describes a character in great detail (Charlotte Brontë students, you might be familiar!) and you think there is a lot of underlying hints that the author is getting at through such an intricate use of words, then you might want to begin your paragraphs with these examples and then move wider to state how this affects the total persona built around this character and then maybe even a step further to describe how the writer’s attitude towards this character is actually a representation of how they feel towards the social ideas that the character represents.

The benefit of this approach is that if you are a student that finds that when you try and specify on a couple of key points within a large theme, you end up getting muddled up with the potential number of avenues you could be writing about, this style gives a bit of direction to your writing. This approach is also helpful when you are trying to link your broader themes together.

The main thing to remember in the structure of your body paragraphs – the link between your examples and the broader themes that you bring up should be very much evident to the marker. They should not have to work to find the link between the examples you are bringing up and the points that you are making. Remember, a Close Reading is all about the passage that is right in front of you and its relation in the context of the whole text and the writer’s message. Be clear about your opinion, it matters!

Happy writing!

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A Summary and Analysis of William Shakespeare’s Othello

By Dr Oliver Tearle (Loughborough University)

Othello is one of Shakespeare’s five best-known and widely studied tragedies, along with Hamlet , Macbeth , King Lear , and Romeo and Juliet . But as is so often with a well-known text, we don’t know this one nearly as well as we think we do: Othello has more in it than jealousy, the ‘green-eyed monster’, and (implied) racial hatred.

These themes are central to the play’s power, but one of the triumphs of Othello , as the analysis below attempts to demonstrate, is how well Shakespeare weaves different themes and elements together at once. Before we analyse some of these themes, it might be worth recapping the plot of this great tragedy which has inspired everything from opera (Verdi’s Otello ) to a rock musical ( Catch My Soul , from the 1960s).

Othello : plot summary

The main action of the play takes place in Venice, as the play’s subtitle, The Moor of Venice , makes clear. Iago is ensign or flag-bearer to the great military general, Othello, who is a Moor (i.e. a north African Muslim). Iago expects to be promoted to the rank of lieutenant, but instead Othello passes him over in favour of Cassio. For this reason (at least he claims), Iago declares that he hates Othello and will wreak vengeance on both Othello and Cassio.

His first plot is to try to prevent Othello’s marriage to Desdemona, the beautiful daughter of Brabantio, by telling Brabantio that Othello and Desdemona have already slept together even though they are not married. Brabantio summons Othello before the court, but Othello convinces him that he and Desdemona have not yet lain together, and the two of them are married.

Next, in Cyprus on a military campaign, Iago gets Cassio drunk and arranges a brawl, which he makes sure Othello witnesses; Othello has to strip the recently promoted Cassio of his commission. Iago then sets about convincing Othello that Cassio is having an affair with Desdemona; he tells Cassio to ask Desdemona to put in a good word for him with Othello so he might get his commission back (but with the result that Othello questions why his wife would want to plead for Cassio).

Iago, having got hold of a handkerchief of Desdemona’s, which she’d lost (a gift from Othello), hatches a plan to make Othello think his wife has been sleeping with Cassio. He hides the handkerchief in Cassio’s bedchamber and then tells Othello that Cassio has it.

When Othello asks Desdemona where her handkerchief is, she confesses that she has lost it; meanwhile, Cassio gives it to Bianca, his mistress, little realising that the handkerchief is part of Iago’s grand plan to implicate him in an imaginary affair.

Iago’s plan works, and Othello is convinced that there is something going on between Cassio and Desdemona. He tells Iago to kill Cassio, and he publicly strikes Desdemona, accusing her in front of everyone. Iago then tells Roderigo to kill Cassio, but Roderigo fails, so Iago kills him so nobody will find out about the plan.

Othello, consumed with jealousy, smothers Desdemona to death with a pillow, Emilia (Iago’s wife and Desdemona’s maid) tells Othello that she was the one who found the handkerchief and gave it to her husband; Iago kills her for revealing this, and Othello wounds Iago. Realising he has thrown away the life of an innocent woman he loved dearly, Othello kills himself publicly, Cassio is made governor of Cyprus, and Iago is taken off for punishment.

Othello : analysis

Othello is a play about sexual jealousy, and how one man can convince another man, who loves his wife dearly, that she has been unfaithful to him when she hasn’t. But Shakespeare does several very interesting, and artistically quite bold, things with this basic plot, and the characters he uses to tell the story.

First, he makes his hero noble, but unusually flawed. All heroes have a tragic flaw, of course: Macbeth’s is his ‘vaulting ambition’ , Hamlet’s is his habit of delaying or over-analysing (although the extent to which he actually delays can be questioned ), and so on. But Othello’s tragic flaw, his pride, is not simply noble or military pride concerned with doing the right thing (as a great military man might be expected to have), but a rather self-serving and self-regarding kind – indeed, self-regarding to the point of being self-destructive.

He is willing to believe his innocent wife has been unfaithful to him even though he is, to all intents and purposes, devoted to her. This makes him a more interesting tragic hero, in some ways, because he isn’t a spotless hero with one major blind spot: his blind spot is, in a sense, everyone else but himself.

Second, Shakespeare doesn’t make Iago, the villain, someone whose motives we can understand. Indeed, he goes out of his way to make Iago as inscrutable as possible. If the first rule of creative writing class is ‘show don’t tell’, the second or third rule may well be ‘make your characters’ motivations clear’.

Yet Shakespeare puts into Iago’s mouth several plausible ‘motives’ for wreaking the confusion and chaos that causes Othello’s downfall and Desdemona’s death, and in providing multiple motives, Iago emerges as ‘motiveless’, to use Coleridge’s famous description (Coleridge described Iago as being possessed of ‘ motiveless malignity ’). We cannot be sure why he is doing what he is doing.

But this does not mean that he is not being driven by anything. In Shakespeare’s source material for the play, a novella by the Italian author Cinthio, Iago is straightforwardly evil and devilish, intent on destroying Othello’s life, and with a clear motive. But Shakespeare’s Iago is more dangerous still: a human, with clearly human attributes and intellect, who nevertheless derives great pleasure from causing harm to others purely because … well, because it gives him pleasure.

Part of the genius of Shakespeare’s characterisation of Iago is that he makes him a convincing ensign to Othello, a loyal servant to the Moorish warrior, even while he is plotting Othello’s downfall. He is a villain, but a charming two-faced one. In Harold Goddard’s fine phrase, he is ‘a moral pyromaniac setting fire to all of reality’ (this phrase is quoted enthusiastically by Harold Bloom in his Shakespeare: The Invention Of The Human ).

Othello is also unlike many of Shakespeare’s other great tragedies, with the possible exception of Romeo and Juliet , in that its plot could easily have been co-opted for a comedy rather than a tragedy, where the confusion created by Iago’s plotting is resolved, the villain is punished, and the hero and heroine are reconciled to live happily ever after.

Compare, in this connection, Iago’s role in Othello with that of the villainous Don John in the earlier comedy, Much Ado about Nothing (a play we have analysed here ). Like Iago, Don John wants to wreck the (upcoming) marriage between Claudio and Hero, and sets about convincing Claudio that his bride-to-be cannot be trusted.

But in Much Ado , Hero’s fidelity is proved and Don John’s villainy is exposed, and we have a comedy. Much of Othello proceeds like a comedy that takes a very dark turn at the end, when it becomes apparent that Othello will not be reconciled with Desdemona, and that the sexual jealousy and suspicion he has been made to feel are too deep-rooted to be wiped out.

The whole thing is really, of course, Iago’s play, as many critics have observed: if Othello is the tragic lead in the drama, Iago is the stage-manager, director, and dramatist all wrapped up in one. Writers from Dickens to George R. R. Martin have often sorrowfully or gleefully talked of ‘killing off’ their own characters for the amusement of others; Iago wishes to ruin Othello’s marriage for his own amusement or, in Hazlitt’s phrase, ‘stabs men in the dark to prevent ennui ’.

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2 thoughts on “A Summary and Analysis of William Shakespeare’s Othello”

The racial issue is of paramount importance in this play. The only characters whose view of Othello is not distorted by racial stereotyping are Desdemona and Cassio. Desdemona’s dying words are an attempt to exculpate her husband, and Cassio’s first reaction on learning that he has been crippled thanks to Othello’s jealous suspicions is to exclaim “Dear General, I never gave you cause!” I find no evidence that Othello is a Muslim. We’re told that he was sold into slavery in his childhood; presumably he was raised as a Christian. The “Colour” issue would have been evident in the original performances, since the Moor would certainly have been played in blackface.

I had the great good fortune to see the 2007 production of Othello put on at the Donmar Warehouse with Chiwetel Ejiofor in the title role. It was a wonderful experience…

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Othello - Essay Samples And Topic Ideas For Free

Othello is a tragedy by William Shakespeare, exploring themes of jealousy, betrayal, and racism. Essays on “Othello” could delve into character analyses, thematic explorations, and the play’s historical and social context. They might analyze the play’s treatment of race and the character of Othello as a tragic hero. Discussions could also explore the play’s modern-day relevance, adaptations, and its reflection of, or comment on, the societal norms and racial attitudes of both Shakespeare’s time and today. A substantial compilation of free essay instances related to Othello you can find at PapersOwl Website. You can use our samples for inspiration to write your own essay, research paper, or just to explore a new topic for yourself.

Role and Character of Iago in Othello

In Othello by William Shakespeare, Iago a power hungry ancient drives the plot through his cruel and manipulative ways. In the play Othello and Desdemona are happily married, Othello gives Cassio a promotion to lieutenant, he chooses Cassio over Iago and gives Iago a more trusted and honorable job. Through manipulation Iago is able to bring the downfall of every character he pleases. Iago uses subtle cruelty to manipulate other characters into doing heinous acts which may of otherwise seemed […]

Women’s Role in Othello

Othello presents us with three female leads; Desdemona, Emilia, and Bianca. The way the play is worded implies woman as somewhat slanderous and adulterous and yet in the beginning depicts women mostly as virtuous. All these characters are implied to be whores through the play. During Act 2, Scene 2, Othello’s wife is being referred to as “a maid that paragons description and wild fame” and that “she excels the quirks of blazoning pens”. This states that she is so […]

Iago: the Main Antagonist

In the play Othello by William Shakespeare, the main antagonist Iago guides the audience through his path of deception to justify his revenge towards Othello. As a result of Iago being humiliated and disenfranchised by Othello, he takes from Othello what he values most; the security he feels in Desdemona's untainted love and commitment. Iago justifies his action though: his jealously of Cassio being appointed as lieutenant instead of him, the misconception he has that Othello had sex with his […]

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Misogyny and Violence in Othello

William Shakespeare's play “Othello” makes it clear that women have been vulnerable to male slander and assault for ages. Othello is a story of domestic abuse and male violence. Male violence remains a tragedy for many girls and women. Many victims of intimate partner violence will recognize their experiences in this play. The terrifying transformation of a beloved into an aggressor, the closing off of escape routes, the urgent assertion of fidelity. The #MeToo movement opens up a new way […]

Othello Manipulation Essay

Manipulation is all around us; we frequently do not notice it because it is hidden very well. Humans manipulate others in order to get their requests, they expect them to reveal their flaws to use it against them. In Othello, Iago demonstrates he is the master of manipulation over all characters who had formerly trusted and confined him. Shakespeare’s Iago effectively showcases how humans can use others weaknesses to serve their demands which causes them to expose their faults. Shakespeare […]

Shakespeare: Obedience and Powerless in Women

In Hamlet and Othello, Shakespeare criticizes the feminine issues that were present in his time, bringing awareness to the standard roles and ideal expectations of women by characterizing them in a space of being obedient and powerless. As women are portrayed as having ideal feminine values such as chastity and passiveness, the frailty of women is also brought to the surface. On the other hand, Shakespeare also seems to be suggesting that internal destruction is generated in the sense that […]

Theme of Jealousy in Iago, Roderigo, and Othello’s Characters

Shakespeare explores the theme of jealousy in Othello through Iago,Roderigo, and Othello. Iago starts off the jealousy theme in Othello when he gets jealous of Cassio. Othello puts Cassio as his 2nd in command while he signed Iago to be his ensign which means third in command. Iago then goes crazy and starts plotting to ruin Othello’s marriage and get Cassio fired. He then starts putting words in Othello’s head and starts to make him question everything. “O, beware, my […]

Racism and Racial Prejudice in Othello

In the book, Othello, by William Shakespeare, we see a big impact of racism and racial prejudice. Othello shows a lot of this and how it gets in the way by restraining love in society. He is a black man who is also a great and successful war soldier. He dedicates himself to serve society's goals by fighting for his country. Even though, Othello is a Moor, he is the most hardworking and the most respected. When it comes to […]

Imbalance of Power between Men and Women

Social imbalance can be termed as the presence of inequality opportunities as well as rewards for different gender statuses and social function within the society. The act of imbalance can be attributed to various important dimensions that involve cultures, employment opportunities as well as earnings. Furthermore, an aspect of inequality much revolves around power which is primarily discussed in this paper. The power imbalance between men and women in areas such as religion not only occur in western and British […]

Deaths of Characters in Othello

How many people die on Othello? Knowing Shakespeare, he kills off a majority of his characters. In Othello alone, eighty-five point seven percent of the roles die in the end. Whether killed by a sword or strangled out of jealousy, there were no justified reasonings for the deaths. Emilia, Desdemona, and Othello all fall blind to the truth and die because of it. Desdemona, one of Shakespeare's more naive and innocent character, was killed by her own husband in the […]

Reasons of Othello’s Tragedy

Othello's tragedy is a product of not just Iago, but himself. Though Iago may appear to be the primary cause of Othello's downfall, based on how manipulative, evil, and deceptive Iago was throughout the story. It can also be said, after having read the story, Othello's own insecurities were the product of his own self demise. A combination of putting trust into Iago due to male pride, his lack of confidence of Desdemona and the perception of infidelity and racial […]

Was Iago a Real Villain?

The Considering Iago as a "Villain" in  the play Othello, the character Iago plays a main role in the destruction of Othello and all of those around him. People could say that Iago's actions are simply a scheming liar and that he is a purely evil character. Others say Iago's talent for understanding and manipulating the desires of those around him that makes him both a powerful and a compelling figure that represent some greater force. We find soon in […]

Description of Othello’s Character

Othello is the main character in the play Othello by William Shakespeare. He is a well-respected African general in the Venice army and is happily married to Desdemona, a white woman. Othello being African already makes him an outsider and highlights racism in Venice. Throughout this play, there are slurs that have been used to describe Othello, "Moor, is an example of one. Even though Shakespeare did not make race the main theme in the play it is a huge […]

Iago’s Jealousy in Othello

William Shakespeare is prolific for his plays of love, revenge, deceit and jealousy. Among his most celebrated plays is the tragedy Othello, in which the themes of jealousy and deceit play a central role. In Othello, one of his most recognized tragedies was revolving around the central theme of jealousy and deceit. The themes of jealousy and deceit go with love. Love consumes all those who take part in it and in Othello’s case, his love for Desdemona has blinded […]

Literary Devices Used Othello

In Othello by William Shakespeare, Othello considers and thinks about all his actions before going through with them. By analyzing his soliloquies, we can understand his thoughts, and his reasons behind his actions. In act 5 scene 2 the first soliloquy Othello contemplated him killing his wife. This monologue gives you an inside scoop of Othello's thinking process because he doesn't want to kill his wife but feels as if he needs to. Othello makes choices that he might not […]

Lies, Revenge and Betrayal in Othello

Lies are extremely common in our society today, with millions of people masking their true intentions. In Shakespeare's play titled Othello, one of the characters, Iago, is no different and in fact the same as those deceptive individuals in society. Behind his act as a trustworthy friend, Iago is a manipulative and deceptive character creating disorder and causing many mishaps to occur. Iago uses many acts of manipulation to undermine every single character's weaknesses to get exactly what he wants, […]

Insanity Within the Plays of William Shakespeare

William Shakespeare in his many plays and other pieces of literature created some of the most well thought out characters of all time. The characters often had reasons for what they did or what they thought, shedding new light on what it meant to actually be “insane”. The characters’ motives were often shown during his stories, Because of that, Shakespeare, through his use of literature and understanding of the human mind, shaped western culture’s perception of insanity from negative feelings […]

Othello as an Ideal Representation of the Tragic Hero

William Shakespeare's Othello is a clear representation of the downfall of a tragic hero. Set in Venice and Cyprus during the 16th century, Othello, a moor, deals with the manipulative actions of a general of the Venetian army, Iago. Due to losing his desired position of being Othello's lieutenant to another solider Cassio, he plots is revenge in deviousness. Othello becomes persuaded by Iago 's rumors, framing, and miscommunications, causing him to kill Desdemona, his believed unfaithful wife. In realization […]

Sexism in Shakespeare’s Play Othello

"In the book, Othello written by Shakespeare, there is a main theme of sexism present throughout the book, Although the book was written in the 1600s, and there have been great decreases in sexism around the world, many of these ideas and scenarios are still present to this day. Sexism is defined as prejudice, stereotyping, or discrimination, typically against women, on the basis of sex. Sexism has been present for centuries, in many different forms, such as wage gaps, gender […]

Power and Control in Othello

In modern society, there are instances where one person has power over another. It is found in professions, school, and everyday life. What is meant by control is having some sort of influence in the way you act, make money, or are seen by others. This in no way means that someone completely owns another person. Power and control of others can be found by lying to others for benefits, men taking a higher role than women, and higher-ranked people […]

Othello Gullible Essay

The start of the Renaissance marked a time of a creative movement that promoted the greatest artists and creators to come forth and produce the best that their minds could think up. One of these artists that today still hold a position of being greatly respected and admired by the public is William Shakespeare. Shakespeare was a poet, writing over 154 sonnets, and a playwright, and in each of the 37 plays, he was able to “capture the complete range […]

With Love, Violence and Vengeance

Through the twisted minds of human nature, love is shown through acts of violence and vengeance committed by mankind. William Shakespeare's, Othello and Homer’s The Odyssey violence and vengeance are portrayed through jealousy, prejudice, justice, and honor. Their roles are woven throughout these books to portray the idea that love is a violent concept. Violence and vengeance can be found in several ways. It can be expressed physically, verbally, and mentally. Othello shows how envy and jealousy can overpower and […]

Importance of Literary Devices in Othello

This passage highlights Iago's character through the use of diction, imagery, irony, and other instances of figurative language. In this exchange, Iago continues to inconspicuously accuse Desdemona of being unfaithful to Othello and accuse Cassio of being disloyal to his superiors. He inserts various remarks at different times to execute this plan. At the end of this echange, Iago has effectively created an unfaithful and untruthful image of Cassio and Desdemona, and planted a seed of jealousy and doubt in […]

A Short Review of the Othello Play

In Act 1 of Othello, we are introduced to Iago and Roderigo. Iago is upset because Othello gave Cassio the position Iago wanted. Iago felt Cassio was not qualified for the position because he had never been in actual situations unlike Iago. The true colors of Iago are shown because this is the first time the audience has been exposed to the deceitful side of Iago. He talks about only following Othello just so he can turn his back on […]

My Attitude to Othello and Iago

Iago the antagonist within Othello written by William Shakespeare. I am so engaged with Iago because I want to secretly be like him. To get away with all the destruction he exerts. I get bored of the good guys always succeeding. He embodies both attraction and repulsion. The character of dramatic irony gropes us into his story and makes me agree that the most effective villain is one that both attracts and repels, which is why a villain is a […]

Characters in the Play Othello

The play Othello written by Shakespeare in the 1600s takes place in Venice, and Cyprus an island in the Mediterranean Sea. Shakespeare’s tale focuses on love, jealousy, and betrayal. Main characters being; Iago, Othello, Desdemona, Cassio, Bianca, and others. While some of these main characters go through some minor and big changes throughout the play. The character Othello undergoes many changes from start to finish, although some of the other characters in this play have a part in the way […]

A True Reason of Othello Demise

The novel Othello is about a General man named Othello and his wife Desdemona, just trying to be a normal couple, but problems occur when Iago starts to stir things up and starts to put lies in Othello's head. Iago starts to stir things up because Iago wanted to get the rank as lieutenant but Othello thought Cassio deserved it more and gave it to him so Iago wants revenge and wants to mess up Othello's relationship with Desdemona. Iago […]

Racism in Othello

Throughout history, men have the tendency to seek power. They may initially intend on pursuing the greater good, but eventually, pride rules out. And according to Cornelius Tacitus, senator of the Roman Empire, “the lust for power, for dominating others, inflames the heart more than any other passion” (Tacitus). This desire that is stained within our human nature gradually instigates tension between individuals and is largely influenced by race. Therefore, while those who triumph usually become centered, those without, get […]

Othello as an Aristotelean Tragedy

Legendary playmakers, such as Aristotle and Sophocles, held an influential position in the history of theatrical performances. In creating works like Oedipus the King, such experts seemingly knew how to intertwine human emotion with the actions of the narrative. This prowess eventually adopted by other artists led to the creation of some of the greatest plays in history. Interestingly, most of these plays entailed a protagonist, covered in splendor and valor throughout the play. The lead character often gained high […]

Prominent Theme in Shakespeare’s Othello

Within the play "Othello, written by William Shakespeare, the main and prominent theme of the play concerns with Othello's primary flaw, his jealousy. Thus, it is evident within the play the term "The Green-Eyed Monster whom Iago refers as jealousy suggests why The role of jealousy within Othello is focused from his delusional jealousy described as "Othello Syndrome, how his jealousy can resonate with readers and the connection with real-life marriages. In Shakespeare's Othello, he introduces the term of the […]

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How To Write an Essay About Othello

Understanding the play 'othello'.

To write an effective essay about Shakespeare's 'Othello,' it's crucial to have a comprehensive understanding of the play. 'Othello' is a tragedy that explores themes such as jealousy, love, betrayal, and racism. Start by familiarizing yourself with the plot, characters, and Shakespeare's language. It's important to understand the historical and cultural context in which Shakespeare wrote the play. Research the Elizabethan era's attitudes towards race and gender, as these are central themes in 'Othello.' Understanding the play's context and themes will provide a solid foundation for your essay.

Formulating a Thesis Statement

Your essay should be driven by a clear, concise thesis statement. This statement should offer a unique perspective on 'Othello.' You might choose to focus on a character analysis of Othello or Iago, explore the theme of jealousy, or examine the play's treatment of race and ethnicity. Whatever focus you choose, your thesis should guide your analysis and provide a central argument for your essay.

Gathering Evidence from the Play

Once you have your thesis, gather evidence from the play to support your argument. This involves closely reading the text to find relevant quotes, dialogues, and scenes. For example, if you're discussing the theme of betrayal, identify instances in the play where betrayal is evident and examine the consequences of these actions. This evidence will form the backbone of your essay and strengthen your arguments.

Analyzing Shakespeare's Techniques

In your essay, analyze how Shakespeare uses various techniques to convey themes and develop characters. This might include his use of language, imagery, symbolism, and dramatic structure. For instance, explore how Shakespeare uses irony or foreshadowing to enhance the tragic elements of the story. Your analysis should provide insight into how Shakespeare's techniques contribute to the overall meaning and impact of 'Othello.'

Concluding the Essay

Conclude your essay by summarizing the main points of your analysis and restating your thesis. Your conclusion should tie together your analysis and reinforce your overall argument. It's also an opportunity to reflect on the broader significance of 'Othello' in terms of its relevance to contemporary audiences or its place in Shakespeare's body of work.

Reviewing and Refining Your Essay

After writing your essay, review and refine it for clarity and coherence. Check for grammatical and spelling errors, and ensure that your essay flows logically from one point to the next. Consider seeking feedback from peers or instructors to further improve your essay. A well-written essay on 'Othello' should not only demonstrate your understanding of the play but also your ability to engage critically with Shakespeare's work.

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Essays About Othello: Top 5 Great Examples and 6 Prompts

Othello is regarded as one of the most significant works of literature from the Elizabethan Period; Here are writing prompts on essays about Othello . 

Othello (1603) is a tragic tale of love, war, jealousy, and revenge. Set in the 1500s during the Ottoman-Venetian War, the play follows General Othello, his wife Desdemona, and Iago, one of his soldiers. Lago is bitter after being overlooked for a promotion; he takes his revenge on his general, Othello, by deceiving him into thinking that his wife Desdemona has been unfaithful. This leads Othello to kill her, then ultimately kill himself. 

The themes that Othello embodies are enduring and relatable, as we still see the issues that the play’s characters experience. As a result, the story has been adapted countless times and is considered one of the greatest plays of all time. 

To write insightful essays about Othello, you can start by reading these examples. 

1. Enduring Value – Othello by Brett Horton

2. othello and reputation by joe richards, 3. othello gullible by ross vasquez.

• 4.  Why Is Othello Black? By Isaac Butler
• 5. ​​A Reflection on Shakespeare’s Othello by Myers McKinney

1. Why Is Othello A Classic

2. what is othello’s tragic flaw, 3. othello and un capitano moro, 4. racial prejudice in othello, 5. jealousy in othello, 6. why is othello timeless.

“Shakespeare’s portrayal of Othello as being an outsider, and being ‘othered’ by the Venetian society due to his different race, reflects traditional Elizabethan values and principles concerning racial prejudice and inequality. These repeating problems, of social intolerance and racial bias are common concerns in our modern society. Shakespeare’s expresses the nature of villainy through his antagonist, ago, as he explores problems of betrayal and deceit.”

Horton writes about Othello ’s value due to its profound exploration of intrinsic human traits. In particular, prejudice is still prevalent, and Horton briefly explains how the play displays this theme. In conjunction, he writes about how in contrast with the prejudice against his complexion, Othello is all too trusting, which does not allow him to see Iago’s betrayal. 

“Without Iago’s honest reputation, he would have never been able to convince Othello that Desdemona was committing adultery. In addition Cassio’s diminished reputation fuelled Iago’s lie about Desdemona, making it easier for Othello to believe lago. Finally, Othello’s high rank in the military restricted him from confronting Desdemona about the possibility of an affair, which prevents the truth from emerging.”

In his essay, Richards discusses the effects of the characters’ reputations on the play’s events. Iago uses his reputation as an honest, virtuous soldier to make his plan successful, manipulating the other characters to serve his needs. On the other hand, Othello’s reputation prevents him from confronting Desdemona about a supposed affair, which was unacceptable during this time. 

“He trusts Iago too much and totally relies on ago therefore making him really vulnerable to Iago’s evilish schemes. Othello’s gullibility causes him to be jealous. He let’s his jealousy take over, he looses control of himself and acts on his jealous emotions, he let’s his jealousy clutter his mind and good judgment.”

Vasquez analyzes the character of Othello and focuses on a key trait that allows the play to transpire as it does: his gullibility. He is far too trusting and believes his “loyal” soldiers, such as Iago, without any doubt. This, in turn, leads him to listen to Iago’s lies, making him jealous and turning him against his wife. Vasquez’s message is clear, concise, and logical: Othello is greatly flawed, and his flaw leads to his unfortunate end. 

Looking for more? You might also be interested in these essays about Hamlet .

4.   Why Is Othello Black? By Isaac Butler

“Othello could be talking about Desdemona as the abused Venetian or, according to Sisneros, ‘he could be even referring to himself. He killed the good part of himself, thus ‘traducing’ the Venetian state.’ Either way, it’s hard to escape the sense that Othello is explicitly saying he has ‘turned Turk’ by the end of the play. It could also be that Othello’s blackness provided Shakespeare a new way to explore questions that consumed his playwriting at this time in his career: What is identity, and how is it formed? What is a man? What is an Englishman?”

Butler puts Othello’s race at the forefront of this essay, in which he speculates on any hidden meanings behind Othello’s dark complexion. In particular, he presents a theory by which the character’s blackness represents his true essence; as the play goes on, Othello’s mannerisms change to more stereotypically “uncivilized” behaviors. Shakespeare may have used Othello’s character to reflect many people’s belief at the time that black converts to Christianity could not completely change.  

5. ​​ A Reflection on Shakespeare’s Othello by Myers McKinney

“Ensnared in Iago’s half-truths and innuendos, Othello lives in a false world instead of the true one. By failing to question Iago and his motives, Othello instead questions Desdemona and Cassio and their motives. To use the phrase of the revolutionary, Friedrich Engels, we could say that Othello falls into a state of ‘false consciousness’ because of the counsel of Iago. Like Adam and Eve in the garden, Othello allowed what Van Til called a ‘false ideal of knowledge’ to become ultimate and authoritative in his interpretation of reality.”

As its title suggests, McKinney’s essay reflects on Othello’s fall from a respected military general to a disgraced murderer. Iago’s deception in the form of “half-truths” combined with Othello’s willingness to believe and trust his subordinates allows the story to play out as it does. McKinney discusses the importance of sometimes questioning things rather than always taking them at face value. 

Top 6 Writing Prompts on Essays About Othello

Based on your understanding of the story, write about the importance of the play and why others should at least look into reading them. Briefly discuss the plot, characters, and themes, and try to convince others to read Othello . Of course, this topic would be much more suitable if you have already read or watched the play. In this essay, you can discuss the main themes of the play and why it had such an impact on society.

As a tragedy, Othello’s eponymous protagonist has a central flaw in his character that leads to his downfall. While a few flaws can be identified, which do you believe is the main issue that allows the story to transpire as it does? First, identify it, discuss it and give examples of instances in which it is seen. Finally, analyze how these situations lead to Othello’s downfall and discuss if this could have been prevented. 

As with many of Shakespeare’s other dramas, Othello is based on earlier literature, in this case, Cinthio’s short story Un Capitano Moro . Read the source text and compare and contrast it with Shakespeare’s version. Discuss how these two written works are similar and how they are different. Compare the main themes of each and decide whether or not you believe these two texts are similar.  

In your essay, you can discuss the prevalent theme of race, and racial prejudice, to be exact. Ask yourself: does Othello’s race impact the play? Delve into this question for an interesting argumentative essay. Discuss the hypotheticals, such as: would the story’s events play out differently if he were like the other characters? Remember the period in which the characters lived- times were very different back then. Be sure to cite text evidence to support your arguments.

Another central theme of Othello is jealousy. In your essay, discuss how jealousy is shown throughout the play. You can highlight this theme by quoting dialogue that shows a jealous tone in a character’s voice or actions. In this essay, make sure to include multiple quotations from the play to provide supporting details.  

You might also enjoy these essays about To Kill A Mockingbird and essays about Romeo And Juliet .

The story of Othello has been adapted and referenced repeatedly, whether in film, television, music, art, or even games. What is it about the play that makes other creators and artists keep coming back to it? Why is it still performed today? You can include some aspects of the play that make it “relatable” to us humans, even in such a different time.  

Check out our guide packed full of transition words for essays .

If you’re still stuck, check out our available resource of essay writing topics .

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Discussion Questions

Why do you think Shakespeare chose to write Othello as a Moor and Desdemona as a Venetian? How do their respective races affect the plot? Support your answer with evidence.

In Act I, the Venetian Senate asks Othello to defend Cyprus against the Turks. All of the play’s major characters sail to Cyprus, but a storm stops the Turkish fleet in Act II, eliminating the reason for Othello’s journey to Cyprus. Why do you think Shakespeare moved the action of the play to Cyprus, rather than leave his characters in Venice?

Which character does Iago have the easiest time manipulating, and why might some characters be more susceptible to his manipulation than others?

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The Tragedy of Othello: Critical Analysis — Othello Critical Essay

• To find inspiration for your paper and overcome writer’s block
• As a source of information (ensure proper referencing)
• As a template for you assignment

Introduction

Critical analysis, works cited.

The Tragedy of Othello is a powerful piece of art written by William Shakespeare. The tragedy is well-known around the world. If you are assigned to write critical analysis of Othello, check this essay example to learn more about the drama, and its characters.

The stage directions in the Tragedy of Othello are realistic. The drama is based on the three characters namely Othello, Lago, and Desdemona. However, the directions are based on the modest approach to a drama that is located in two diverse worlds known as the Venice and Cyprus.

Given that the play had no subplot, the play directions tend to budge in terms of place, time, and action once the theme is shifted to Cyprus. The stage directions are the realistic forms of domestic tragedy. However, it does not require supernatural instructions to hook the audience.

The language used to give directions to the audience is natural and restrained. The dialogue reflects the reality of a society that is under pressure from the usual hassles of life. The dialogue simply involves a husband, wife, and a scoundrel. This is a short critical analysis examining the play from multiple perspectives. That is, how I experience it as a silent reader and as a text for public performance.

The drama is ahead of its time. The play presents the audience with a tragic hero of color. The dialogue sounds natural and does not involve the provocation of laughter in the audience. The imagination of the audience is captured by the fact that the drama involves interracial marriage that was unfathomable in those days.

Further, the drama involves a bed in which murder is eventually committed. The murder is committed on stage. The dialogue is made very realistic by the presence of the villain who appears to possess more lines than the disastrous hero. All the meetings were bold, contentious, and very modern.

The characters in Othello are acting like normal people pursuing everyday undertakings. Othello becomes the victim of a domestic calamity. He is the victim to an envious monster of jealousy (Langis 61). He finds it hard to adjust to the marital existence having been in the armed forces for long. In fact, he turns out to be a chauvinist and protective. Although he is good in the military, he is bad at home. Othello appears to be an awful husband. The play shows that Othello is always imploring for a brawl. Just like Simpson, he murders the wife after being informed that she has been cheating on him.

Typically, this would be the reaction of a husband convinced that the wife has been cheating on him. Such incidents have been happening in the society. Thus, this appears as the main theme of incompatibility in the armed forces of heroism and love in the drama. That s, it involves the risk of isolation. The killing of Desdemona is an evidence of the frustration that Othello is going through after being cheated and convinced by Lago to trust that his wife was cheating on him.

Lago cannot convince the audience in whatever he says given that the audiences have insight into his character though it is not evident to the actors. He pretends to be morally upright so that his intention of ensuring the downfall of Othello is well covered. By planting the handkerchief in Casio’s house, it is an indication of conspiracy between him and the wife (Lankey 6).

The stage businesses are illustrations of what take place in real life. The visual plainness displayed on the stage according to the stage directions focuses directly on the actors and a fascinating account of retaliation, gullibility, and jealousy. The catastrophic downfall of the noble warrior is a common phenomenon in many societies plagued by jealousy and vengeance. Lago at times hilariously expresses his intentions for the murderous abhorrence of Othello.

By acting as a director and producer in charge of staging the tragedy of the Othello, I would ensure the actors bring out the rhetoric of the drama. However, before the action of the drama, Brabantion had been kind to the Moor (Horman 112). He allowed Othello and his daughter to discuss more about him since he was mesmerized by his slave stories. Upon the revelation that the Desdemona had eloped with Othello, his feeling altered abruptly.

He started wondering where he would find and arrest him. However, the rhetoric does not come out clearly even when he is called a thief in the street. Instead, Othello is accused of abusing Desdemona. In deep rhetoric, Brabantio states that his house is not a grange. This meant that he does not keep horses. In fact, this is founded on the fact that the daughter had eloped with a man of color. I would insist that the actors should bring out the rhetoric clearly to sensitize the audience about racism.

Numerous elements would probably catch my attention as a critic of the play. The geographical symbolism represented by the two locations of the play would be important. For instance, Venice is represented by Lago while Cyprus represented by Desdemona. Othello represents the third location called Turks.

This emerged upon considering that the location was only mentioned as a war zone with the other two characters. Venice was at the time of writing the play one of the most influential and cosmopolitan European cities. Indeed, it is symbolic of the white Christian European morals.

The Senate and the Duke ran the city. These were symbols of power and order. On the contrary, Cyprus is very unpredictable and natural. It was isolated from the colonial government. Besides, it is an armed forces premeditated target for both Turks and Venetians. The island is very symbolic of Desdemona. There is struggle to dominate her between Othello and Lago.

Othello involves a variety of actors. In fact, actors such as Othello, Lago and Desdemona dominate the play. In the play, the setting incorporates jealousy and gullibility while such traits rule the society. The short critical analysis examines the play from multiple perspectives. That is, how I experience it as a silent reader, and how I experience it as a text for public performance.

Horman, Sidney . When the Theater Turns to Itself: The Aesthetic Metaphor in Shakespeare, Lewisburg, PA: Bucknell University Press, 1981. Print.

Langis, Park. Passion, Prudence, and Virtue in Shakespeare Drama, West Newton: Continuum, 2007. Print.

Lankey, Julie. Othello , Cambridge City, UK: Cambridge University Press, 2007.Print.

• Play’s Plot Explored
• Act 1 Scene 1
• Act 1 Scene 2
• Act 1 Scene 3
• Act 2 Scenes 1-2
• Act 2 Scene 3
• Act‌ ‌3‌ ‌Scenes‌ ‌1-2
• Act‌ ‌3‌ ‌Scene‌ ‌3
• Act 3 Scene 4
• Act‌ ‌4‌ ‌Scene‌ ‌1
• Act 4 Scene 2
• Act‌ ‌4‌ ‌Scene‌ ‌3
• Act‌ ‌5‌ ‌Scene‌ ‌1
• Act 5 Scene 2
• Characters Analysis
• Important Quotes
• William Shakespeare
• Why Was the Globe Theatre Important to Shakespeare?
• Edward Albee, His Life and Works
• The Downfall of Othello
• Othello and Desdemona in "Othello" by Shakespeare
• Othello's Ruinous Credulity in Shakespeare's Tragedy
• Analysis of the Play ‘Romeo and Juliet’
• Analysis of Legally Blonde play
• Critical Analysis of the Plays: The Three Sisters and Happy Days
• Portrayal of the American Dream in the 20th Century Theatre
• The Art of Children Theater
• Chicago (A-D)
• Chicago (N-B)

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What a Thesis Paper is and How to Write One

From choosing a topic and conducting research to crafting a strong argument, writing a thesis paper can be a rewarding experience.

It can also be a challenging experience. If you've never written a thesis paper before, you may not know where to start. You may not even be sure exactly what a thesis paper is. But don't worry; the right support and resources can help you navigate this writing process.

What is a Thesis Paper?

A thesis paper is a type of academic essay that you might write as a graduation requirement for certain bachelor's, master's or honors programs. Thesis papers present your own original research or analysis on a specific topic related to your field.

“In some ways, a thesis paper can look a lot like a novella,” said Shana Chartier , director of information literacy at Southern New Hampshire University (SNHU). “It’s too short to be a full-length novel, but with the standard size of 40-60 pages (for a bachelor’s) and 60-100 pages (for a master’s), it is a robust exploration of a topic, explaining one’s understanding of a topic based on personal research.”

Chartier has worked in academia for over 13 years and at SNHU for nearly eight. In her role as an instructor and director, Chartier has helped to guide students through the writing process, like editing and providing resources.

Chartier has written and published academic papers such as "Augmented Reality Gamifies the Library: A Ride Through the Technological Frontier" and "Going Beyond the One-Shot: Spiraling Information Literacy Across Four Years." Both of these academic papers required Chartier to have hands-on experience with the subject matter. Like a thesis paper, they also involved hypothesizing and doing original research to come to a conclusion.

“When writing a thesis paper, the importance of staying organized cannot be overstated,” said Chartier. “Mapping out each step of the way, making firm and soft deadlines... and having other pairs of eyes on your work to ensure academic accuracy and clean editing are crucial to writing a successful paper.”

How Do I Choose a Topic For My Thesis Paper?

What your thesis paper is for will determine some of the specific requirements and steps you might take, but the first step is usually the same: Choosing a topic.

“Choosing a topic can be daunting," said Rochelle Attari , a peer tutor at SNHU. "But if (you) stick with a subject (you're) interested in... choosing a topic is much more manageable.”

Similar to a thesis, Attari recently finished the capstone  for her bachelor’s in psychology . Her bachelor’s concentration is in forensics, and her capstone focused on the topic of using a combined therapy model for inmates who experience substance abuse issues to reduce recidivism.

“The hardest part was deciding what I wanted to focus on,” Attari said. “But once I nailed down my topic, each milestone was more straightforward.”

In her own writing experience, Attari said brainstorming was an important step when choosing her topic. She recommends writing down different ideas on a piece of paper and doing some preliminary research on what’s already been written on your topic.

By doing this exercise, you can narrow or broaden your ideas until you’ve found a topic you’re excited about. " Brainstorming is essential when writing a paper and is not a last-minute activity,” Attari said.

How Do I Structure My Thesis Paper?

Thesis papers tend to have a standard format with common sections as the building blocks.

While the structure Attari describes below will work for many theses, it’s important to double-check with your program to see if there are any specific requirements. Writing a thesis for a Master of Fine Arts, for example, might actually look more like a fiction novel.

According to Attari, a thesis paper is often structured with the following major sections:

Introduction

• Literature review
• Methods, results

Now, let’s take a closer look at what each different section should include.

Your introduction is your opportunity to present the topic of your thesis paper. In this section, you can explain why that topic is important. The introduction is also the place to include your thesis statement, which shows your stance in the paper.

Attari said that writing an introduction can be tricky, especially when you're trying to capture your reader’s attention and state your argument.

“I have found that starting with a statement of truth about a topic that pertains to an issue I am writing about typically does the trick,” Attari said. She demonstrated this advice in an example introduction she wrote for a paper on the effects of daylight in Alaska:

In the continental United States, we can always count on the sun rising and setting around the same time each day, but in Alaska, during certain times of the year, the sun rises and does not set for weeks. Research has shown that the sun provides vitamin D and is an essential part of our health, but little is known about how daylight twenty-four hours a day affects the circadian rhythm and sleep.

In the example Attari wrote, she introduces the topic and informs the reader what the paper will cover. Somewhere in her intro, she said she would also include her thesis statement, which might be:

Twenty-four hours of daylight over an extended period does not affect sleep patterns in humans and is not the cause of daytime fatigue in northern Alaska .

Literature Review

In the literature review, you'll look at what information is already out there about your topic. “This is where scholarly articles  about your topic are essential,” said Attari. “These articles will help you find the gap in research that you have identified and will also support your thesis statement."

Telling your reader what research has already been done will help them see how your research fits into the larger conversation. Most university libraries offer databases of scholarly/peer-reviewed articles that can be helpful in your search.

In the methods section of your thesis paper, you get to explain how you learned what you learned. This might include what experiment you conducted as a part of your independent research.

“For instance,” Attari said, “if you are a psychology major and have identified a gap in research on which therapies are effective for anxiety, your methods section would consist of the number of participants, the type of experiment and any other particulars you would use for that experiment.”

In this section, you'll explain the results of your study. For example, building on the psychology example Attari outlined, you might share self-reported anxiety levels for participants trying different kinds of therapies. To help you communicate your results clearly, you might include data, charts, tables or other visualizations.

The discussion section of your thesis paper is where you will analyze and interpret the results you presented in the previous section. This is where you can discuss what your findings really mean or compare them to the research you found in your literature review.

The discussion section is your chance to show why the data you collected matters and how it fits into bigger conversations in your field.

The conclusion of your thesis paper is your opportunity to sum up your argument and leave your reader thinking about why your research matters.

Attari breaks the conclusion down into simple parts. “You restate the original issue and thesis statement, explain the experiment's results and discuss possible next steps for further research,” she said.

Find Your Program

Resources to help write your thesis paper.

While your thesis paper may be based on your independent research, writing it doesn’t have to be a solitary process. Asking for help and using the resources that are available to you can make the process easier.

If you're writing a thesis paper, some resources Chartier encourages you to use are:

• Citation Handbooks: An online citation guide or handbook can help you ensure your citations are correct. APA , MLA and Chicago styles have all published their own guides.
• Citation Generators: There are many citation generator tools that help you to create citations. Some — like RefWorks — even let you directly import citations from library databases as you research.
• Your Library's Website: Many academic and public libraries allow patrons to access resources like databases or FAQs. Some FAQs at the SNHU library that might be helpful in your thesis writing process include “ How do I read a scholarly article? ” or “ What is a research question and how do I develop one? ”

It can also be helpful to check out what coaching or tutoring options are available through your school. At SNHU, for example, the Academic Support Center offers writing and grammar workshops , and students can access 24/7 tutoring and 1:1 sessions with peer tutors, like Attari.

"Students can even submit their papers and receive written feedback... like revisions and editing suggestions," she said.

If you are writing a thesis paper, there are many resources available to you. It's a long paper, but with the right mindset and support, you can successfully navigate the process.

“Pace yourself,” said Chartier. “This is a marathon, not a sprint. Setting smaller goals to get to the big finish line can make the process seem less daunting, and remember to be proud of yourself and celebrate your accomplishment once you’re done. Writing a thesis is no small task, and it’s important work for the scholarly community.”

A degree can change your life. Choose your program  from 200+ SNHU degrees that can take you where you want to go.

Meg Palmer ’18 is a writer and scholar by trade who loves reading, riding her bike and singing in a barbershop quartet. She earned her bachelor’s degree in English, language and literature at Southern New Hampshire University (SNHU) and her master’s degree in writing, rhetoric and discourse at DePaul University (’20). While attending SNHU, she served as the editor-in-chief of the campus student newspaper, The Penmen Press, where she deepened her passion for writing. Meg is an adjunct professor at Johnson and Wales University, where she teaches first year writing, honors composition, and public speaking. Connect with her on LinkedIn .

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Kaliane Bradley on the Slow-Moving Crisis of Identity

In conversation with mitzi rapkin on the first draft podcast.

First Draft: A Dialogue of Writing is a weekly show featuring in-depth interviews with fiction, nonfiction, essay writers, and poets, highlighting the voices of writers as they discuss their work, their craft, and the literary arts. Hosted by Mitzi Rapkin, First Draft celebrates creative writing and the individuals who are dedicated to bringing their carefully chosen words to print as well as the impact writers have on the world we live in.

In this episode, Mitzi talks to Kaliane Bradley about her new novel, The Ministry of Time .

Subscribe and download the episode , wherever you get your podcasts!

From the episode:

Mitzi Rapkin: I’m curious if writing this expanded or changed anything for you about identity and how we see identity, because I think for your narrator, you know, she’s very thoughtful about her identity, and how being mixed race impacts how she’s seen by other people she works with and how the world sees her. But there’s a point where one of the characters, Margaret, who time travelled from the time of The Great Plague.  She’s gay, and she’s really living it up in modern times with Tinder, and she’s assimilating, I guess with a big A and it hasn’t been traumatic for her. She likes it but another character, Graham, a polar explorer who is now in modern day, says to the main character, Why is identity our habits? Why is identity reducing us to our habits? And he was talking about sexuality, but I think so much of this novel is about identity.  Did that change anything for you about how you looked at it from the beginning to the end of writing this?

Kaliane Bradley: Well, reading about Victorian conceptions of sexuality was incredibly interesting, because also, how would these people have described themselves? And so yes, the idea that Graham’s horror that what you do with someone else becomes what you are, is very alarming to him, because I think he thinks of himself in a very fixed way that maybe is not borne out by his behavior. I think I am in a constant state of slow-moving crisis about the term, for example, British-Cambodian writer. What does that mean for me? Does that mean, does the British-Cambodian come first? Does the writer come first? Do I always have to modify them? Will I always have to modify them? Will it always mean something essential to the book? I feel like in this case, maybe it is essential, because one of the characters is British-Cambodian, and that’s a crucial part of how she experiences her story. But if I write something completely different, Will is it still relevant that I am a British-Cambodian writer, or will it continue to be relevant because I simply cannot escape my history, my past, my current identity. I feel that maybe before I started writing the book, my crisis was more subdued.  And it’s an interesting crisis. It’s an enjoyable crisis. I’m glad I’m having it. I hope it will yield some interesting questions, but writing this book, and thinking about the categorizing urge, the urge to fit people into a pigeonhole in order to better comprehend them, has been interesting, is the word I’m going to use. But I think it’s also been fun and complicated and crunchy and weird.

Kaliane Bradley is a British-Cambodian writer and editor based in London. Her short fiction has appeared in  Somesuch Stories, The Willowherb Review, Electric Literature, Catapult , and  Extra Teeth , among others. She was the winner of the 2022 Harper’s Bazaar Short Story Prize and the 2022 V.S. Pritchett Short Story Prize. Her novel is called The Ministry of Time.

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