Othello study notes

1. Concept 1 --> Main concepts in Module B are interpretation. This encompasses an

explanation of how you personally respond to the text and its features, an analysis of
the meaning and how it is conveyed, and an evaluation of the impact of the text on
you and others.
2. Concept 2 --> Second concept, textual integrity, relates to the text’s capacity to
have enduring value. A text has integrity when all its textual features - such as its
structure, form, language, content, and ideas- synthesise to create a text that
continues to resonate for responders in a range of contexts.
 Told using powerful poetic language and skilfully crafted characters, and
conveys universal themes of jealousy, treachery, deceit, the dichotomy
between appearance and reality, ambition and the importance of reputation,
the text becomes one that endures and is valued by successive generations.
- Text’s composition and reception; investigate the perspectives of others; and explore
the ideas in the text.

Othello – The playwright’s techniques

Soliloquies –
 A soliloquy is a dramatic convention which allows a character in a play to speak directly
to the audience about their motives, feelings and decisions.
- Part of the convention is that a soliloquy provides an accurate and intense access
into the character’s innermost thoughts; we learn more about the character than
could ever be gathered from the action of the play alone.
- In Othello, both Iago and Othello speak in soliloquy, which allows the audience
access into the minds, feelings, and motivations of the main characters.
o This serves to heighten the intensity of the drama. Because a character
necessarily speaks in a soliloquy, techniques of language will be used within it.

Dramatic irony –
 Shakespeare uses dramatic irony constantly. It occurs when the audience knows more
about what is happening than some of the characters know.
- Iago is a source of much dramatic irony within Othello because he informs the
audience of his secret intentions through his soliloquies.
- When characters speak in a dramatically ironic way, (saying something that points
to events to come without knowing the significance of their words) the playwright is
using foreshadowing to help build drama, tension and themes in the play.

Descriptive language –
 Because Shakespeare had minimal stage scenery, the scenery is created poetically in
language and sets the mood, tone, time of day and location of each scene, as well as
allowing for greater knowledge of characters and key plot scenes.
- Descriptive language allows for a more vivid and comprehensive portrayal of a
character or idea of the play being presented.
Figurative Language –
 Shakespeare often uses figurative language in highly complex ways in short statements,
such as “…to clog the guiltless keel…” which combines synecdoche (keel stands for ship)
and metonymy (the ship stands for Desdemona, on board) to say that Desdemona is
“guiltless” by figuratively attributing guiltlessness to the keel of the ship in which she
travels to Cyprus.
- This is the first of the three times the word “guiltless” is used in the play. Patterns
of imagery are also used in the figurative language, such as “light” for “life” in Act V

Contrast –
 By contrasting the appearance, personality and ideas, Shakespeare is able to heighten
emotions and create exaggerated points in his narrative.
- Consider how Iago has two dupes: Roderigo, whose being duped is almost comical,
and Othello, whose being duped is the core of the tragedy.
- Note how there are two marriages in the play: that of Othello and Desdemona, and
the other of Iago and Emilia.
- Note how there are two wives, one innocent, and the other experienced
(Desdemona and Emilia).
- Close reading suggests that Othello and Desdemona have two nights together, the
first is their wedding night, delayed until after their arrival on Cyprus; the second is
the next night, when she is murdered.

Other dramatic techniques -->

+ Characterisation
+ Use of foils
+ Symbolism, motif
+ Props
+ Blocking, gesture, movement, body language
+ Lighting
+ Sound
+ Language techniques and the way they are reinforced or contradicted by the action
seen on stage
+ Pace, rhythm and rhyme
+ Exits and entrances
+ Dramatic structure
+ Use of generic conventions
+ Breaking the fourth wall
+ Asides
+ Antithesis (in speeches and characterization)

6 sub-theses’ -->

Gender:

Race – Racism:
Women/females in the play – sexism:

Jealousy:

Deception/manipulation/appearance vs reality:

Hamartia’s/human flaws (‘fatal flaws’):

Themes:

 Fit quote and analysis under themes/sub-theses’

Giving your own judgement

What is the meaning of ‘Othello’?

 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.
- Talk about the text’s textual integrity.
- Shakespeare’s use of characters to reflect problems in human nature and the human
condition.
- Use of Iago as his instrument
- Dubbing Iago as evil and Othello credulous --> undervaluing the text and underlying
meaning
- Canonical literature
- Explores universal themes of ____. The text then becomes one that endures and is
valued by generations

Interesting points:
 Othello isn’t inherently evil yet he murdered his own wife. Noble Othello, swift and
tranquil in his words, able to talk himself into marriage with fair Desdemona, was
blinded by jealousy to commit such a condemning act. At a certain point, it stopped
being Iago’s fault and started being Othello’s.
 When it comes to Othello, he has a huge blind spot: one in the shape of Iago, who
paints Othello a scenario where the only outcome can be the death of Desdemona
and Cassio. This is a classic example of tunnel vision. The duality of good and evil
comes to a blur at this point because Othello isn’t to blame because of his ignorance,
and neither is Iago because he is the inherently evil.
 Iago is the ‘inherently’ evil character first and Othello is the latter
 Ones that are deceived are generally of good nature but exhibit/possess less
intellectual and emotional ability/intelligence... However, this is a very general and
 broad statement as for Othello to become a military general, he would have to
exhibit adequate intelligence and emotional control to obtain his position.
- Othello is an intelligent man and can control his emotion but throughout the play, he
digresses from a “noble” and “valiant moor (or general)” to that of a man that
manifests emotional polarity and reveals his fatal flaws of sexual jealousy, inherently
basing things on reputation (i.e. “Honest Iago” 🙄), the struggle with balancing
passion and reasoning, emotion and rational thought.
- Toward the end of the play Shakespeare’s use of antithesis when manifesting the
comparison of Othello at the start vs the end --> reflects the result of fatal flaws +
external sources... Shakespeare through exaggerating inherent flaws in human
nature, shows the capacity at which these flaws can be provoked. Thus, Othello’s
downfall serves as an allegory for human hamartia’s and the way in which individuals
can be provoked/aroused --> causing their sustained or temporary destruction...

Quote Technique Effect/analysis

“And I, [God] bless the mark, his Acknowledgement via Othello is always introduced/talked about
Moorship’s ancient” - Iago (Act 1 characteristics through characteristics of his (that reflect
scene 1) his race) --> this reveals the racism
present in the Jacobean era.
“Shows of service on their lords, Do ... The first time Iago shows his deceitful
well thrive by them; and when they nature --> those who keep focus on
have lined their coats, Do themselves themselves engage in acts of service -->
homage” - Iago (Act 1 scene 1) they can pretend to thrive
“I will wear my heart upon my sleeve Axiom + Metaphor 1) “heart upon my sleeve for daws to
For daws to peck at. I am not what I peck at” is a metaphor for
am” – Iago (Act 1 scene 1 ) vulnerability as Iago tells Roderigo
that he would never let his
behaviour (deceptive behaviour)
show what he actually thinks/ feels
– Revealing his nature
2) The axiom Shakespeare creates in
Iago’s speech “I am not what I am”
is one that defines Iago and his
disposition which sets up how Iago
is ultimately viewed as the play
progresses.

1. “The Thick lips” – Rodrigo (Act Synecdoche 1. Highlighting Othello's foreignness

1 scene 1) (outsider) of African heritage and
2. ‘lascivious Moor’ – Roderigo belies Roderigo's distrust of
Othello based solely on his colour.
3. “it is not my virtue to amend 2. Roderigo’s jealousy of Othello from
it” - Iago his love for Des
3. Iago’s manipulation as he
convinces Roderigo to take action
--> although initially against his
virtue
“Your old black ram is tupping your Animalistic imagery 1. Used to convey immorality or a
white ewe” + “a Barbary house” – Iago bestial desire or illicit passion -->
(Act 1 scene 1) doubly potent statement, not only
condemns Othello for his alleged
lust, also plays on Brabantio’s
misgivings about Othello’s
colour/outsider status
2. Iago = outsider in venetian society
+ jealous as he represents success
of an outsider moving up the ranks
of Venetian society --> RESORTING
to colloquial racial slurs to degrade
Othello in Brabantio’s eyes
(representation of venetian
society)
“I hate the Moor” – Iago (Act 1 scene Repetition Reinforces Iago’s hate and jealousy
3) toward Othello.
“O heaven! How she got out? O Metaphor? “treason of
treason of the blood! Fathers, from the blood” --> betraying
hence trust not your daughters’ mind own family
by what you see them act”
Act 4 Scene 2 (EMELIA + IAGO) --> - Dramatic irony The dramatic irony in Emelia’s statement
TRUTH/MORALITY: - Foreshadowing [...] expresses her desire to seek revenge
- Knowledge upon the person that has hurt
Emelia: “Some busy and insinuating asymmetry Desdemona. What remains invisible is the
rogue, some cogging, cozening slave person she is speaking that is the culprit.
[...] hell gnaw his bones” The knowledge asymmetry between
audience and characters highlights Iago’s
Iago: “Fie, there is no such man; it is deception. Furthermore, this foreshadows
impossible” Emelia’s role as a truth-teller at the
conclusion of the play.
Act 4 Scene 2 (DESDEMONA) GENDER: - Paradox Desdemona embodies the archetype of
“his unkindness may defeat my life [...] - Embodying female purity and the submissive woman as the
I cannot say ‘whore’” stereotype extreme statement “his unkindness may
- exaggeration defeat my life” shows how much she will
change her reality to depict Othello in the
best way possible. The exaggerated
moment when Desdemona says “I cannot
say whore” shows the almost childish way
she endorses contextual values around
modesty and sexual purity.
Act 4 Scene 3 (DESDEMONA) GENDER: - dramatic irony Preparing for bed, Desdemona tells Emelia
“he she loved proved mad [...] she had - about “a song of ‘willow’” symbolizing
a song of ‘willow’” women’s sorrow and imminent death.
Shakespeare’s choice to have Desdemona
sing provides innocence and femininity
about her character.
Act 5 scene 2 (OTHELLO) MORALITY: - Biblical allusion
“call what I intent to do A murder, - Theme of sacrifice
which I thought a sacrifice: I saw the and
handkerchief” morality/gender
IAGO: “Our bodies are our gardens, to - Garden metaphor
which our wills are gardeners”
Act 5 Scene 2 (OTHELLO) MORALITY: - Antithesis Othello’s rhetorical question “who can
“Who can control his fate” - Rhetorical control his fate” represents human
question powerlessness, antithetical to Iago’s
- metaphoric remark “Our wills are
gardeners”. The importance of recognising
that Iago presented Othello with words to
which Othello judged them in decision to
kill his wife. This reveals the somewhat
inevitable moral capacity within Othello to
kill his wife.

Past essay questions:

2020 – prelim question

Question 1
Answer on your prescribed text

Shakespearean Drama (20 marks)

Prescribed Text: Othello by William Shakespeare

“Reputation is an idle and most false imposition, oft got without merit and lost without
deserving.” (Iago, Act II, Scene iii)

To what extent does Iago’s statement resonate with your understanding of Shakespeare’s
play? You are to make close reference to the text in your response.

2019 – prelim question

Question 1
Answer on your prescribed text

Shakespearean Drama (20 marks)

Prescribed Text Othello by William Shakespeare

“One of the strongest aspects of the appeal of Othello is how Shakespeare makes us feel
compassion for flawed characters.”

Discuss this statement with close reference to the play.

2018 – prelim question

Module B: Critical Study of Literature (20 marks)

‘Through its portrayal of deceit, Shakespeare’s Othello reinforces the importance of truth.’

To what extent does your understanding of Othello support this view? In your response,
make detailed reference to Shakespeare’s play.

Intros:
Shakespeare’s Othello (1603) exposes the complexities of human nature which includes the
manipulation, obsession and human hamartia’s embodied by characters in the play.
Through Shakespeare’s nuanced and complex portrayal of characters, Othello explores
universal themes of duality, passion, jealousy, the importance of reputation as well as how
power imbalances like deception can lead to one’s downfall and the fall of others. [thesis
responding to the question/statement]. Upholding the tragic pattern, it is the amalgamation
of ____ and ____ that _____.

Shakespeare’s Othello (1603) reveals the intrinsic complexities of human nature by

exploring universal themes of duality, passion, jealousy, and the importance of reputation. It
is through Shakespeare’s nuanced and elaborate portrayal of _____ that explores how
power imbalances like deception and manipulation can lead to one’s downfall. [Thesis
statement responding to statement/question]. ___. {mentioning something about the tragic
pattern OR finishing off with something that relates to q/s to tie everything together}.

OTHELLO PARA TOPIC/ANALYSIS IDEAS:

T = Topic sentence I = Ideas A = Analysis

T. Othello can be interpreted as merely innocent and credulous by nature while also
exhibiting emotional polarity throughout the play. However, only characterising Othello
as gullible and self-deceptive diminishes the holistic value of his character as well as the
text.

I. The audience witness Othello in a longer state of bliss than that of the protagonists in
other Shakespearian tragedies like Macbeth or Hamlet. This structural choice allows the
audience to develop appreciation toward Othello and ascertain that Othello’s tragic
qualities are _____.

A. Hamartia/fatal flaws: Amidst the play, in Act 3 scene 3, the grotesque imagery of Iago’s
statement, “O beware, my lord, of jealousy: It is the green-eyed monster which doth
mock the meat it feeds on.” Personifies and serves as a metaphor of jealousy. The effect
of Iago posing jealousy as a “green-eyed monster” that “mock[s] the meat it feeds on”
presages the nurtured flaw Othello manifests and ironically foreboding the tragic
 denouement of Othello by which enmity is a central cause. Furthermore, it is also
through Shakespeare’s use of eerie imagery that the “green-eyed monster” anticipates
the progression of Othello’s character in addition to his language that determines his
fate.

A. And “that cuckhold lives in bliss who certain of his fate loves not his wronger”
foreshadows Othello’s downfall and insinuates that he is ignorant, blinded by
virtue and “lives in bliss”. --> Othello is blinded by virtue since he is highly
esteemed by various senators and characters and presents noble disposition at
the plays beginning.

A. Fatal flaw/deception/reputation: Othello is too honest, and Iago realises the possession
of these qualities as “The Moor is of free and open nature that thinks men honest that
seem to be so” and takes advantage of this. Perhaps Iago is also revealing that as Othello
“is of free and open nature” and “thinks men honest that seem to be so” shows that he
may have too much trust in Iago. Furthermore, Iago may be declaring to Othello that he
himself should not be trusted, that he puts on a façade. This could be his way of ‘having
fun’ and playing with Othello, but again, Othello doesn’t recognise this which affirms an
additional fatal flaw such as his reliance on reputation.
- As Othello obtains a good reputation and supports it (with evidence),
Iago’s deception and false prescriptions of “honest Iago” are enough to
convince Othello that Iago is authentically candid and holds high moral
standards.
A. Truth: Iago was required to gradually infiltrate doubt into Othello, eventually
reaching the point where if the military general was presented with “ocular proof” of
his wife’s adultery, he would be driven into a demented mental state. The demand
for “ocular proof” is one of the last sane actions Othello makes before driven to
insanity. Iago provides Othello with what seems to be adequate proof but, it is
rather a pretence that highlights the dangers of placing trust in senses.

A. Gender: Othello’s possessive and objectifying language as he “call[s] these delicate

creatures ours, And not their appetites!” essentially wails the fact that he can own
Desdemona but not her sexuality. The hyperbolic language highlights the
comparison in Othello’s statement “live upon the vapour of a dungeon than keep a
corner in the thing I love for others’ uses”. The visual imagery in “rather be a toad”
and “vapour of a dungeon” exhibits the power Iago’s deception and language has on
Othello as he references animals and refers to women with sexual connotations in
his speech. It remains clear that Iago has stirred up a jealousy in Othello that elicits
the view of Desdemona as a possession.

A. Truth: Act 3 scene 3 “Trifles light as air are to the jealous conformations strong As
proofs of holy writ.” --> The handkerchief plays a key role in the plot of Othello. The
disconcerting disparity that is expressed through the contrasting image Iago presents
in discourse in which “trifles light as air” are presented as “strong as proofs of holy
writ”. This disparity shows the receptive side of human nature in which jealousy
provokes one to come to arbitrary conclusions.
A. Truth/Race: Ambivalent thoughts in Othello’s mind arise as he “think[s] my wife [to] be
honest and think she is not [...] her name, that was as fresh as Dian’s visage, is now
begrimed and black as mine own face”. Through the contrast of black and white
imagery, by comparing Desdemona’s name to the goddess of the moon and to that of
Othello’s own “black” face symbolically associates the colour of his skin with immorality.
Shakespeare’s ambiguous depiction of Othello manifests two ideas; the potential
internalised racism in which Othello is susceptible to being titled the racial other or
lesser in society, and alternatively, the notion that this comparison is a reflection of
Shakespeare’s own prejudice on race.

A. Race: Othello is often depicted by Shakespeare as ‘the other’ and one that is naturally
alienated from society. Shakespeare creates the notion that his existence is affiliated
with the supernatural and fanciful world. Perhaps Othello’s fixation with the
handkerchief suggests elements of irrational and superstitious nature but above all, the
imbalance of passion and reasoning reveals itself and highlights the result of Othello’s
emotional polarity.

A. Race: In Act 4 Scene 1, Othello’s distressed speech “Lie with her! Lie on her! We say lie
on her [...] Handkerchief—confessions—handkerchief!” confirms his previous questions
and physically manifests his descending trajectory as the stage directions indicate ‘Falls
in a trance’. This physical display indicates weakness physically and mentally and reveals
Iago’s power over Othello to resemble hypnosis. The meaning behind Shakespeare’s
depiction of Othello as mentally unstable is slightly ambiguous although one could draw
the conclusion that there is a racial component in depicting black people as biologically
unable to control their emotions.
- Othello loses his verse and his eloquence, speaking in truncated
sentences before descending into his fit. Paragraph is in prose,
demonstrating how Othello has been affected by these accusation and
can no longer speak in verse.

- Important to remember/note that Othello’s fundamental nature isn’t

inherently jealous.
 Iago was required to gradually infiltrate doubt into Othello, eventually reaching the
point where if the military general was presented with “ocular proof” of his wife’s
adultery, he would be driven into that ‘demented’ mental state, seeking to murder
Desdemona and to avenge his embarrassment of cuckoldry. That tangible “proof”
came in the form of the handkerchief.
 Toward the end of the play, the theme of morality subsides over other themes.

IAGO PARA – TOPIC S/ANALYSIS

 A comparable term to describe Iago’s emotional state is schadenfreude.

A. Truth/Gender/Context: In Act 3, Scene 3, the audience witnesses Iago’s

manipulation of Othello in full swing in which the development from Act 1 returns
and is corrupted by Iago as he claims, “She did deceive her father, marrying you; And
when she seemed to shake and fear your looks, she loved them most”. Desdemona’s
 love and devotion for Othello is twisted into proof that she is unfaithful. It is due to
her love for Othello that was considered an extreme betrayal of her father, that love
is characterised as inconsistent and misleading. The appearance that Desdemona
“seem’d to shake and fear [Othello’s] looks” is contrasted with the reality that “she
loves them most”. This shows the division between appearance and reality.
Furthermore, the mobility of father-daughter values to that of the husband-wife
dynamic reflects the patriarchal values held in the Elizabethan era.

A. Race: Iago remark of Desdemona’s “own clime, complexion, and degree, Whereto we
see in all things nature tends” fixates on the presumably unnatural interracial
marriage between Othello and Desdemona. The motif of nature used in the
portrayal of this relationship follows the great chain of being used to reflect the
empirical disgust of miscegenation.

A. Truth/Gender: Iago’s animalistic similes which represent Desdemona and Cassio affair
“as prime as goats” and “as hot as monkeys” gives a visceral image of Desdemona’s
promiscuity designed to unsettle Othello as well as disorient his judgement. The
presentation of truth as being SO UGLY that it shouldn’t be witnessed and for it to be in
Othello’s best interest to be satisfied with “imputation and strong circumstances”
transforms presuming into believing and the notion of “strong circumstances” into
reality.

A. The capacity Iago’s words have on Othello can be traced in Act 4 Scene 1 as the
grotesque imagery in Othello’s statement as he exclaims “Goats and Monkeys!” affirms
his digression to savagery. Furthermore, Othello uses animalistic imagery in description
of Desdemona as he says, “Damn her, lewd minx!” which again, illustrates the power
Iago’s intruding language has in deceiving Othello’s mind.

B. Truth/Gender: In Act 4 Scene 1 Iago’s manipulation continues during a conversation with

Othello as Shakespeare returns the use of the pun “Lie” in explaining Cassio’s actions.
The blunt answer “Lie—” Iago gives in response to Othello’s desperation as he says
“What? what?” reaffirms the double meaning as well as the homonymous meaning
reveals truth that Iago’s speech from that point is a lie. The casual tone of Iago’s speech
as he responds to Othello “With her, on her; what you will” again reinforces the idea
that Iago’s words and language have dual meaning.

A. Morality/Gender: In Act 4 Scene 1, Othello and Iago discuss the ways in which
Desdemona will be murdered as Othello tells Iago to “Get [him] some poison” in which
Iago’s response is “Do it not with poison, strangle her in her bed, even the bed she hath
contaminated”. It is evident that through Iago’s suggestion to “strangle her in bed”
reveals his morbid relish for violence and his addiction to mental torture as he acts by
proxy. By living through Othello’s experiences, this achieves the submission of Othello’s
will to Iago’s. Iago’s obsession with controlling the details of how and where Othello kills
Desdemona suggests he has an erotic investment in the action.

A. Truth/Morality (Act 4 Scene 1): When Lodovico and Iago are in discourse about Othello,
Lodovico questions his (Othello’s) sanity in line, “Are his wits safe? Is he not light of
 brain?” to which Iago’s evasive response follows, “He’s that he is”. The axiom of Iago’s
words in act 1 “I am not what I am” is returned as Shakespeare inverts it to reveal two
contrasting notions of appearance versus reality. The biblical allusion to exodus in “He’s
that he is” facilitates the idea that Iago is not what he is and Othello is what he is.
However, the opposition of appearance to reality in Iago’s axiomatic statements pose
Iago as being of authentic to his nature as he twists Othello’s honest nature to which
Othello is betraying his true nature.

DESDEMONA:
A. Truth: The comic relief at the beginning of Act 3 Scene 4, Desdemona’s forced pun
“where Lieutenant Cassio lies?” has symbolic significance as Shakespeare emphasises
the word “lie” as a homonym. Although in the 21st century this pun may not have a
lot of humour, it certainly underlines a double entendre in her speech. On one hand,
the pun where “Cassio lies” (i.e., lies down) compares to where he lies (i.e.,
deceiving). As Shakespeare draws attention to the meaning of the word, this is a
form of word play by which unreachable truth, the duplicitous capacity of language,
and the inexplicable nature of reality is intensified.

A. Morality: At this stage, Desdemona still praises Othello for his nobility as her “noble
Moor is true of mind and made of no such baseness as jealous creatures are”. To the
audience’s knowledge, Othello has been manipulated into believing Desdemona’s
infidelity and allows inflamed jealousy to rise. The dramatic irony of “true of mind”
and “made of no such baseness” creates the notion that Desdemona is seemingly
pure, innocent, and trustworthy victim. In light of this, characterizing Othello as this
without forethought illuminates the conversion Iago has induced as according to
Desdemona, Othello hasn’t given any sign of jealousy.

A. Truth/Gender: In Act 3 Scene 4, Desdemona’s equivocations about Othello in the

statement “My lord is not my lord” is rather similar to Iago’s statement in Act 1 “I am
not what I am”. The axiomatic element of Desdemona’s description conveys the
doubt and uncertainty Iago has created. Desdemona’s frequent reference to Othello
as “lord” exposes the patriarchal values in the Elizabethan era by which the
relationship of husband to wife existed in a state of power imbalance.

EMELIA QUOTES/ANALYSIS:

A. Gender: “[Men] are all but stomachs, and we all but food; To eat us hungerly, and when
they are full, They belch us.” --> There is a recurring motif of gustatory imagery
throughout the play as when men scorn the sexuality of women, the description of
appetites is used. However, when women scold men, this metaphor or food comes up.
Perhaps this is because eating is ideally something physical. As Othello tries to trust in
reason and the senses, the dramatic irony in what the audience sees and hears versus
what he sees and hears creates the idea that trusting in mere physical aspects is corrupt.

A. Morality/Gender: “Jealous souls will not be answer’d so; They are not ever jealous for
the cause, But jealous for they are jealous: ‘tis a monster Begot upon itself, born on
itself” --> The axiomatic expression used by Emelia when she essentially says that
“Jealous souls” are “jealous for they are jealous” conveys the pre-eminence of jealousy
to human nature as it is incapable of being diminished and cannot be justified. Emelia
describing jealousy as a monster that “begot upon itself, born on itself” gives it a
religious status. Akin to Aristotle’s concept of the prime cause (i.e., primum movens),
jealousy is not created by anything else as it is an unmoved mover and an uncaused
causer.

 Something to note... in Act 3 Scene 3 Iago refers to Cassio and Desdemona as being
“as prime as goats, as hot as monkeys” ---> in Act 4 Scene 1, Othello mirrors Iago’s
grotesque imagery as he cries “Goats and Monkeys!”