Desdemona

Desdemona: Pre-Marriage

Although Desdemona is usually performed by a mature actress, she was actually conceived by Shakespeare to be a young woman; perhaps still in her teens (and probably played by a boy or young man).

Naïvety

Desdemona is almost child-like in her naïvety about the adult world, but also about marriage and relationships.
As the play proceeds, it seems that more and more, she is unable to cope with the world she has been thrust into, and maybe this supports her father Brabantio’s fears for her.

Othello

The audience sees her behaving most naturally when she is speaking about how she fell in love with Othello.
She was particularly impressed by his tales of travel and responded to this with a ‘world of sighs’.

Brabantio

You could argue that she acted in an adolescent way by deceiving her father about her relationship with Othello.
The comment Brabantio makes: ‘Look to her, Moor if thou hast eyes to see; / She has deceived her father, and may thee’, looks later to carry much truth.
She seems to have no conceptualisation that her father will be devastated by the decision she has made.

Desdemona: Post-Marriage

In Cyprus, Desdemona has to now become Othello’s wife and partner. She is the lady governess there and she is keen to help him with his duties.

Immaturity

Without Iago’s intervention, everything might have gone well in Cyprus.
Instead, you could argue that she reverts back to being a frightened child, mistakenly putting her faith in Iago when Othello starts to rage.

Emilia

Desdemona sometimes seems unable to act to resolve the dispute with Othello or to find out what is truly wrong.
She contrasts markedly with the more world-weary and experienced Emilia.

Fate

Towards the end of the play, Desdemona seems to accept death as if it is her natural fate, and many observers have commented on this being somewhat unrealistic.

Love and innocence

Desdemona appears to believe Othello will somehow see sense but does not do much to convince him.
Her innocence is what makes her killing by her husband so tragic.

1Context

1.1Introduction

1.1.1Specifications

1.2Background

1.2.1Shakespeare

1.2.2Love

1.2.3Tragedy

1.2.4Historical Context

1.3Othello

1.3.1Setting

1.3.2Social Issues

2Act One: Summaries & Themes

2.1Act and Scene Summaries

2.1.1Structure

2.1.2The Exam

2.2Scene One

2.2.1Key Events

2.2.2Key Themes

2.2.3Key Ideas

2.3Scene Two

2.3.1Key Events

2.3.2Key Themes

2.3.3Key Ideas

2.4Scene Three

2.4.1Key Events

2.4.2Key Events 2

2.4.3Key Themes

2.4.4Key Ideas

3Act Two: Summaries & Themes

3.1Scene One & Two

3.1.1Scene One: Events

3.1.2Key Events 2

3.1.3Key Ideas: Love & Tragedy

3.1.4Scene Two: Events

3.2Scene Three

3.2.1Key Events

3.2.2Key Ideas

4Act Three: Summaries & Themes

4.1Key Events

4.1.1Scene One & Two

4.1.2Scene Three

4.1.3Scene Three: Key Ideas

4.1.4Scene Four

5Act Four

5.1Scene One

5.1.1Key Events

5.1.2Key Ideas

5.2Scene Two

5.2.1Key Events

5.2.2Key Ideas

5.3Scene Three

5.3.1Key Events

5.3.2Key Ideas

6Act Five

6.1Scene One

6.1.1Key Events

6.1.2Key Ideas

6.2Scene Two

6.2.1Key Events

6.2.2Key Ideas

7Character Profiles

7.1Major Characters

7.1.1Othello

7.1.2Iago

7.1.3Desdemona

7.1.4Emilia

7.1.5Cassio

7.2Minor Characters

7.2.1Roderigo & Brabantio

7.2.2Other Characters

8Key Themes

8.1Love & Tragedy

8.1.1Love

8.1.2Love 2

8.1.3Tragedy

8.1.4Tragedy 2

8.2Other Key Themes

8.2.1Public versus Private

8.2.2Appearance & Reality

9Writing Techniques

9.1Writing Techniques

9.1.1Structure

9.1.2Genre

9.1.3Form & Language

9.1.4Language & Imagery

10Critical Debates

10.1Criticism & Performance

10.1.1Shakespeare's Legacy

10.1.2Traditional

10.1.3Modern & Contemporary

10.2Approaches

10.2.1Feminist Approach

10.2.2Psychoanalytic Approach

10.2.3Marxist Approach

11Approaching AQA English Literature

11.1Specification A

11.1.1Specification A

11.1.2Love Through the Ages

11.2Specification B

11.2.1Specification B

11.2.2Aspects of Tragedy

12Issues of Assessment

12.1The Exams

12.1.1AOs

12.1.2Mark Scheme

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