7.1.5

Cassio

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Cassio

Michael Cassio is Othello’s newly appointed young lieutenant.

Illustrative background for CassioIllustrative background for Cassio ?? "content

Cassio

  • Cassio has been appointed in preference over the longer-serving Iago and this partially motivates Iago to see both him and Othello wronged.
  • He is suspected of adultery with Desdemona and so Othello is both suspicious and jealous of him.
Illustrative background for Deception Illustrative background for Deception ?? "content

Deception

  • Despite his apparent success as a military tactician, he is very gullible and believes everything that Iago insinuates.
  • He is tricked into starting a brawl with Roderigo.
  • In the ‘reputation’ scene he is forced to look at himself and his actions and his character almost disintegrates.
  • He becomes another fool like Roderigo—ready to be plucked for Iago’s scheming.
Illustrative background for Cassio and OthelloIllustrative background for Cassio and Othello ?? "content

Cassio and Othello

  • Cassio and Othello are very similar in certain ways.
  • Both depend on a code of honour, but this strength can easily be turned into a flaw.
  • Both suffer a collapse of their own personalities, only Cassio’s results in him being maimed.
  • Although he is dignified and obviously attractive to Bianca, Cassio realises he has been duped.
  • Before committing suicide, Othello apologises to Cassio.
Illustrative background for LoveIllustrative background for Love ?? "content

Love

  • Cassio is often seen in the play as the woebegone lover, but when he has the possibility of love with Bianca, he appears to reject it.
  • Perhaps he considers her too low for a man of his status.
Illustrative background for TragedyIllustrative background for Tragedy ?? "content

Tragedy

  • Cassio’s pretensions do not result in him being killed but he is maimed during events in the tragedy.
  • He is also deceived by Iago’s manipulation.

Jump to other topics

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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Emilia

Roderigo & Brabantio