Public versus Private

At various moments in the play, the private world of ‘love’ between Othello and Desdemona is opened up to the wider public world.

Private to public

At various moments in the play, the private world of ‘love’ between Othello and Desdemona is opened up to the wider public world of either Venice or the island of Cyprus.
This is often not through Othello and Desdemona’s choice but is determined by other events in the tragedy.

Othello's marriage

One moment when this first occurs is when Roderigo and Iago awaken Brabantio and discuss openly what has happened with his daughter.
The marriage of Othello and Desdemona then becomes a source of public debate in front of the Duke of Venice.
Othello and Desdemona have only been married for a short while but their intimate and private world is already under public scrutiny.

Cyprus

Although it is not explicit, when Othello travels to Cyprus to become the new governor there, both he and Desdemona are under scrutiny because of the new role they have taken on.
Othello finds it hard to balance his public duty (inspecting the fortifications) with his private marriage (ensuring that Desdemona is happy).

Tragedy

At the end the tragedy that has occurred - the murders - are discovered by those who have arrived on Cyprus from Venice.
They are appalled at what has happened.
In particular, these discoveries relate to Gratiano and Ludovico.
Montano, who is already on Cyprus but who is a Venetian also fulfils this role.

Chaos

The visitors witness Othello treatment of Desdemona (him publicly hitting her) and in the end, the breakdown of the family unit as they arrive in Othello and Desdemona’s bedroom.
It is Lodovico who has to convey the chaos back to the state of Venice at the end of the play.

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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